KORG Legacy Collection - Mono/Poly

Owner’s manual

E 1
 This product uses applied technology from ART Teknika's CONSOLE.

• Mac, Mac logo and Audio Units logo are trademarks of Apple Computer, Inc., registered in the U.S. and other
countries.
• Windows is a registered trademark of Microsoft Corporation in the United States and other countries.
• VST and ASIO are trademarks of Steinberg Media Technologies GmbH.
• RTAS is a registered trademark of Avid Technology, Inc., or its subsidiaries or divisions.
• All other product and company names are trademarks or registered trademarks of their respective holders.

ii
 Table of content

Introduction ...............................................................................1
Feature Overview .................................................................................................... 1

Quick Start ..................................................................................2

Trying out the Mono/Poly ....................................................................................... 2
Starting up the software in standalone mode .....................................................................2
Selecting and playing sounds ....................................................................................................3
Using the audition feature ..........................................................................................................4

Parameters in the Mono/Poly interface ...................................5

Using the on-screen parameters ...............................................................................................6
Assigning MIDI CC#s to the on-screen parameters ............................................................9
PROGRAM BROWSER .................................................................................................................. 10

Parameters ...............................................................................11
Program parameters ............................................................................................. 11
VCO (Voltage Controlled Oscillator) Bank ........................................................................... 11
PITCH CONTROL ........................................................................................................................... 12
MODULATION ............................................................................................................................... 12
VCF (Voltage Controlled Filter) ............................................................................................... 14
VCA
(Voltage Controlled Oscillator) ............................................................................................... 15
BEND, OUTPUT .............................................................................................................................. 15
ARPEGGIATOR ............................................................................................................................... 16
KEY ASSIGN MODE ...................................................................................................................... 16
VOICES ............................................................................................................................................. 17
MASTER OUTPUT ......................................................................................................................... 18
EFFECTS ........................................................................................................................................... 19

Global parameters ................................................................................................. 20

Effect parameters .................................................................................................. 22

About the Dynamic Modulation function .......................................................................... 22
About the TEMPO SYNC function .......................................................................................... 23
00: No Effect ................................................................................................................................... 24
01: Dynamic Compressor .......................................................................................................... 24
02: Compressor ............................................................................................................................. 25
03: Multi Band Limiter ................................................................................................................ 26
04: Mastering Limiter .................................................................................................................. 27
05: OverDrive/Hi. Gain + Wah ................................................................................................. 28
06: 4 Band EQ ................................................................................................................................ 29

iii
 07: Exciter/Enhancer ...................................................................................................................30
08: Talking Modulator .................................................................................................................31
09: Decimator ................................................................................................................................32
10: Flanger ......................................................................................................................................33
11: Phaser ........................................................................................................................................34
12: Polysix Ensemble ...................................................................................................................35
13: MultiTap Chorus/Delay .......................................................................................................36
14: Stereo/Cross Delay ................................................................................................................37
15: LCR BPM Delay .......................................................................................................................38
16: Reverb-Hall ..............................................................................................................................39
17: Reverb-Smooth Hall .............................................................................................................40
18: Reverb-Wet Plate ...................................................................................................................40
19: Reverb-Dry Plate ....................................................................................................................40

Utility ..................................................................................................................... 41

Writing, saving, and loading Program data ..........................43

Writing to internal memory ................................................................................. 43

Saving data on your computer ............................................................................ 44

[FILE] button ...................................................................................................................................44
File menu .........................................................................................................................................44

Loading data from your computer ...................................................................... 45

[FILE] button ...................................................................................................................................45
File menu .........................................................................................................................................45

Appendices ...............................................................................46
Computer menus ................................................................................................... 46
File menu .........................................................................................................................................46
System menu .................................................................................................................................46

Modulation Source List ......................................................................................... 47

Troubleshooting ................................................................................................... 50

Specifications ...........................................................................51

iv
 Introduction

Thank you for purchasing the KORG Legacy Collection Mono/Poly software synthesizer. To maximize your enjoy-
ment of this product, please read this owner’s manual carefully and use the product as directed.

Feature Overview
The Mono/Poly software synthesizer (subsequently called Mono/Poly) completely reproduces the original Mono/
Poly synthesizer (subsequently called “the original”), and also adds numerous new functions for even greater
sound-creating versatility.

CMT – Component Modeling Technology

Using Korg’s proprietary CMT (Component Modeling Technology*) which perfectly replicates analog synthesizer circuitry
in software, Mono/Poly provides an exact replica of the original, giving you a single screen that contains all of the
synth parameters and is designed for superb operability and visibility.

Up 128 voices of polyphony and 16 voices of unison

In addition to completely replicating the original sounds, Mono/Poly is also able to produce up to 128 voices of
polyphony and 16 voices in unison mode (a Spread parameter is provided).

Virtual Patch
You can assign modulation sources such as MG, EG, velocity, and keyboard tracking to control a wide range of the
parameters that make up the sound.

Two built-in effects

Two built-in effects with nineteen effect algorithms are provided. You can use filter or dynamics effects as part of the
sound-creating process, or apply effects such as modulation, delay, or reverb to the overall sound.

512 preset sounds

Banks A–D each contain 128 sounds, giving you a total of 512 rewritable internal programs.

Stand-alone and plug-in versions provided for Windows and Macintosh

The Mono/Poly software synthesizer can be used under Macintosh or Windows in either stand-alone operation or as
a VST/Audio Units/RTAS plug-in instrument with any host application that supports VST, Audio Units or RTAS.

* What is ?
Korg’s (Component Modeling Technology)
creates virtual instruments that are indistinguish-
able from the original. CMT takes an organic
approach to modeling, duplicating the circuit
path of a synthesizer by re-creating each individ-
ual component - transistor, capacitor, resistor, etc.
CMT’s cloning of the entire instrument ensures
that every nuance is replicated.

1
 Quick Start

Trying out the Mono/Poly

Let’s begin by connecting your external MIDI device to your computer, starting up Mono/Poly, and playing it.

Starting up the software in standalone mode

1. Use a USB cable to connect the external MIDI device to your computer.
If you have an External MIDI controller, please make sure it is connected to your computer. (If such a device is not
present, you'll still be able to “play” the Mono/Poly by clicking the mouse on the virtual keyboard in the display.)
2. Navigate to the “KORG” folder - “KORG Legacy” folder, and double-click the “Mono/Poly” icon to start up the
program.
Windows XP
The KORG Legacy folder is in the location you specified when installing the software. By default, it will be in the
“KORG” folder within the “Program Files” folder.
Alternatively, you can click the [Start] button on the task bar, then “All Programs,” and start up the program by
choosing “KORG”-“KORG Legacy MonoPoly” from the menu.
Mac OS X
The KORG folder is located within the “Applications” folder (“Applications”-“KORG”-“KORG Legacy”-
“MonoPoly”.)
When the software starts up, the Mono/Poly software synthesizer will appear.
3. From the system menu, select the Preference Settings, and make operating preference settings as described in
“Mono/Poly Install/Setup guide.”

2
 Selecting and playing sounds

Selecting and playing sounds

Mono/Poly has four banks (A-D) with 128 sounds (subsequently “programs”) in each bank for a total of 512 pro-
grams.

[PROGRAM BROWSER] button Display Keyboard

Using the program select buttons to select programs

When you start up Mono/Poly, bank A program 000 will be selected.
The display will show the program bank, the program name and number, and the category of the program.

Program bank Category

Program select Program name
buttons

Program number

1. Select a program by clicking the program select buttons ( ) located at the left of the program number in the
display.
Note: Alternatively, you can click the program number and then use the [↑]/[↓] keys of your computer to select a
program number (☞“Key Focus function” on page 8). You can also double-click the program number and then
use the numeric keys of your computer to enter the desired number.
You can access a popup menu showing the 128 programs of the currently selected bank by right-clicking (Mac:
Control-clicking) the mouse on the program number or program name in the Mono/Poly panel screen.

2. Play the program you selected.

You can play the program from an external MIDI controller connected to your computer, or by clicking the key-
board located at the bottom of the window. Try selecting various programs and see how they sound.
You can select programs by bank or by category. Refer to “PROGRAM BROWSER” on page 10

To avoid damaging your hearing or your audio equipment, use caution when setting the volume.

3
 Quick Start

Using the audition feature

Mono/Poly provides an Audition function that lets you preview each program. You can use this function to audition
the sounds as you switch programs, or while editing a program so that you can audition the sound without having to
play the keyboard of a connected external MIDI device.
1. Click the [AUDITION] button, and preview playback will occur.
The name of the phrase is shown in the “AUDI.RIFF” field at the bottom of the display.
You can use the “TRANSPOSE” field located below the phrase name to transpose the phrase.

Phrase name Select the phrase

Transpose

2. Click the ▼ symbol shown at the right of the phrase name, and a popup menu will appear, allowing you to
choose the phrase used for preview playback.

3. Click the [AUDITION] button once again to stop playback.

Note: The sound browser also provides an Audition function. Click the [AUDITION] button shown in the pro-
gram browser to hear the program played with a pre-selected musical phrase.

4
 Parameters in the Mono/Poly interface

2 4

1. Edit area
Mono/Poly’s sound parameters and global parameters
are displayed in this area.
• When you click the [EDIT] button, the Mono/Poly
panel screen (sound parameters) will appear.
• When you click the [GLOBAL] button, the global
parameters will appear.
When you click the Mono/Poly logo located in the
upper left, the software version will appear.
When you click the UTILITY “▼” button located in the
upper right, a popup menu will appear, allowing you
to execute utility commands such as Copy or Initialize.
(☞“Utility” on page 41)
3. PROGRAM BROWSER
button
This button displays the program
browser, where you can select pro-
grams by bank or category.

2. Display

4. Function buttons

This area shows the bank, number, category, program

name, and phrase name (used when the Audition func-
tion is on) for the currently selected program.You can
switch programs by clicking the Program Select but-
tons ( ) located at the left of the program number.
When you edit a program, an “*” will appear at the [AUDITION] button
right of the program name. Hold down your com- This button lets you hear the program play a pre-
puter’s [Ctrl] (Mac: [Command]) key and click the“*”; assigned phrase. (☞“Using the audition feature” on
all parameters of the current program will be reset to page 4)
theirsaved values.

5
 Parameters in the Mono/Poly interface

[EDIT] button Using the on-screen parameters

This button displays the Mono/Poly panel (the screen
shown above) in the edit area. Normally, you would
leave this panel visible while you perform or edit. Keyboard
When you want to edit the global parameters, press the
[GLOBAL] button so that the global parameters appear
in the edit area. (☞“Program parameters” on page 11)

[GLOBAL] button
This button displays the global parameters in the edit
area. The global parameters let you make settings that
affect the entire Mono/Poly. (☞“Global parameters” on
page 20)
You can play the synth by moving the mouse pointer to
the desired note and clicking. Drag to play a glissando.
The keyboard will also respond when you play the
keyboard of a controller connected to your computer.

[COMPARE] button
This button lets you compare the saved (unedited) pro- Pitch Bend wheel and
gram with the currently-edited program. Modulation wheel
[FILE] button
pitch bend wheel modulation wheel
This button saves the program settings, global parame-
ter settings, and knob and switch CC# assignments
(☞p.9) to your computer, or loads previously-saved
data of this type into Mono/Poly. Click the [FILE] but-
ton, and select a command from the menu that appears
in the display.

[WRITE] button
Writes (stores) edited or created data into the Mono/
Poly software synthesizer’s internal memory. Move the mouse pointer to the pitch bend wheel or
The WRITE command does not save the data to modulation wheel and drag upward or downward to
your computer; it only stores it to the Mono/Poly operate the wheel. The wheels will also respond when
software synthesizer’s internal memory. Any you operate the available modulators of a MIDI con-
data you’ve stored will be lost if you exit the troller connected to your computer.
application without saving. If you want to keep
your stored combinations and programs, click
the [FILE] button and use the “Save” command
Knobs
to them.
For details on writing data etc., refer to “Writing to
internal memory” on page 43 .

Move the mouse pointer to a knob or encoder.

The behavior of the knobs and encoders will depend
on the Preference settings - “Other” - “Knob Opera-
tion” settings within each program.
• If “Knob Operation” is set to Circular, moving the
mouse pointer to the index markings (numbers)
that surround the knob, and dragging in a circular
motion will change the setting. You can also set a
knob immediately to the desired setting by clicking
that location.
• If “Knob Operation” is set to Relative Circular,
moving the mouse pointer to the knob and dragging
in a circular motion will change the setting. You will
not be able to set a knob simply by clicking (as in
“Circular,” above).
• If “Knob Operation” is set to Linear, dragging
upward will turn the knob toward the right
(clockwise) and dragging downward will turn the
knob toward the left (counter-clockwise).

6

Note: The default setting is Linear.
Note: If the software is running as a plug-in, the knobs
and encoders will behave (i.e., circular/relative circu-
lar/linear) according to the settings of your host appli-
cation.
Sliders
Move the mouse pointer to a fader or slider, then click
and drag up/down or left/right. If a MIDI controller
connected to your computer is assigned to control a
fader or slider, the fader/slider in the screen will
respond to the movements on your controller.
Switches and indicators
Move the mouse pointer to a switch or indicator, then
click and drag to change its setting. If a MIDI controller
connected to your computer is assigned to control a
fader or slider, the fader/slider in the screen will
respond to the movements on your controller.
Slide switches
Move the mouse pointer to a slide switch, then click
and drag in the desired direction.
You can also set a switch by clicking on the desired set-
ting.
If a MIDI controller connected to your computer is
assigned to control a slide switch, the slide switch in
the screen will respond to the movements on your con-
troller.
Using the on-screen parameters
Graphical filters
Move the mouse pointer to a point, then click and drag
in the desired direction.
Parameters
• Parameters you can set by dragging
Move the mouse pointer to the desired parameter, then
click and drag upward to increase the value, or down-
ward to decrease it.
In the case of Some parameters allow you to input a
numerical value. To do so, double-click the parameter
and use the numeric keys of your computer to input a
value, them press Enter to confirm.
• Parameters you can set from a popup menu
Click the desired parameter, and a menu will appear.
Choose the desired value from the menu. When the
menu is displayed, you can also use the up/down cur-
sor keys of your computer to choose a value. If the
menu contains a sub-menu, you can also use the left/
right cursor keys.
Renaming a Program
You can rename programs within the Mono/Poly soft-
ware. This lets you assign a suitable name to a program
you edited or created.
1. Double-click the program name.
The name will be highlighted, and is now editable.
The pointer will change to an I-beam
2. Use your computer keyboard to input a name, and
press the [Enter] key.
The program is renamed.
If you decide not to rename the program, press the
[Esc] (Mac: esc) key of your computer, or click the
7
 Parameters in the Mono/Poly interface

mouse on another location. The name will revert to

its previous state.

If you switch to a different program without

writing, the settings will revert to their unedited
state. If you want to keep the renamed program,
you must write or save it.

Key Focus function

If you set the global parameter “Key Focus” (☞p.21) to

ENABLE, the Key Focus function will be enabled.
When you click a program name of display, knob or
switch, a border will appear around it. In this state,
you can use the up/down/left/right cursor and +/–
keys, space key (switch on/off) of your computer to
edit the value.

Tool Tip
If you set the global parameter “TOOL TIP” to
ENABLE, the Tool Tip function will be enabled.
When you rest the mouse pointer on a knob or switch,
the parameter name and current value of that knob or
switch will be shown in realtime.

Fine adjustments to a controller or

parameter
To make fine adjustments to a controller setting or
parameter value displayed in the screen, drag while
holding down the [Shift] key of your computer.
If Key Focus is enabled, you can also make fine adjust-
ments by using the up/down/left/right cursor keys of
your computer while holding down the [Shift] key.

Resetting controllers and parameters

Hold down your computer’s [Ctrl] key (Mac: Com-
mand key) and click the mouse on a controller or
parameter value. The parameter will be reset to
the original value. The same holds true for global
parameters.z

8
 Assigning MIDI CC#s to the on-screen parameters

Assigning MIDI CC#s to the on-screen parameters

You can use CC#s (MIDI control change messages) to control the knobs or switches of the Mono/Poly from an exter-
nal MIDI device connected to your computer. In order to do this, the knobs or switches must be assigned to the same
CC#s as are transmitted by your external MIDI device. Mono/Poly features a Learn mode, which automatically
assigns the knob or switch to the CC# received from your external MIDI device.
If you want to save the control number assignments on your computer, click the “FILE” button.(☞“Saving data on
your computer” on page 44)
Note: If you’re using an external MIDI device to control the Mono/Poly are in stand-alone mode, the software will be
controlled on all channels 1–16.
1. Right-click (Mac: [Control] click) the knob or slider for which you want to assign a CC#.
A popup menu will appear.

2. In the first menu choose Control Change, and in the sub-menu choose the desired CC#.
If you choose Learn in the first menu, the parameter display will blink, and Learn mode will be activated. In this
state, operate a controller on your connected external MIDI device; the Mono/Poly will receive that CC# and
assign it to the knob or slider.
Learn mode will remain active (i.e., continue waiting) until a CC# is received. If you decide to cancel Learn mode,
right-click (Mac: [Control] click) the knob or switch, and choose Cancel Learn Controller from the popup menu.

You can’t assign the same CC# for more than one controller. The most recently assigned knob or switch will
take priority.

9
 Parameters in the Mono/Poly interface

PROGRAM BROWSER
Using the program browser to select programs
The program browser provides another way for you to select programs. In the program browser you can select pro-
grams by bank or by category.
1. Click the [PROGRAM BROWSER] button located in the left of the display.
The program browser will appear.
The bank select area (BANK), category select area (CATEGORY), program information, and the program list will
all be displayed at once.

Category select Program list

Bank select

Program
information

2. In the bank select area (BANK), you can specify the desired program bank.
The program list will then show the programs of the bank you specified.
3. In the category select area (CATEGORY), you can specify the desired program category.
The program list will then show the programs of the category you specified.
4. In the program list area, you can specify the desired program.
Program information for the selected program will then be shown at the lower left.
5. To confirm your choice, click the [OK] button. If you decide not to choose the program, click the [OK] button.
If you decide to cancel your choice of program, click the [CANCEL] button.
Note: You can also finalize your choice of program by pressing the [Enter] key of your computer or by double-
clicking a program name in the program list.
Note: By dragging a program name in the program list to move it, you can exchange it with the destination pro-
gram.

Copying and pasting in the browser

You can copy and paste programs in the program browser. Select a program in the program list, right-click (Mac:
Control-click), and choose “Copy” from the menu that appears; the selected program will be copied to the clipboard.
Then select a paste-destination in the program list, right-click (Mac: Control-click), and choose “Paste” from the
menu that appears; the program will be pasted from the clipboard. The program that previously occupied that desti-
nation will be overwritten. If you drag and drop a program in the program list while holding down your computer’s
[Alt] (Mac: [Option]) key, the destination program (on which you dropped the dragged program) will be overwrit-
ten.
You can swap the location of two programs by dragging and dropping a program to a different location in the pro-
gram list. If you’ve started up multiple instances of the Mono/Poly software synthesizer, dragging and dropping
between the program lists of different instances will overwrite the program onto the location where you dropped it.

10
 Parameters

Program parameters
The edit area lets you view and edit the parameters of a program. Numerous new parameters have been added to the
original Mono/Poly design, such as a polyphony setting of up to 128 voices, a unison setting (with Detune and
Spread function) of up to 16 voices, MG settings, Arpeggiator synchronization settings, and freely assignable virtual
patch settings. (☞“Using the on-screen parameters” on page 6)
For details on the Mono/Poly’s original parameters, refer to the “Mono/Poly Owner’s Manual” (PDF) and “Mono/
Poly Setting Charts” (PDF) in addition to the explanations on the following pages.

VCO (Voltage Controlled Oscillator) Bank

This section controls the oscillators. The Mono/Poly
provides four VCOs. This means that you’ll be able to
create extremely thick sounds when using the Mono/
Poly as a monophonic synthesizer. The maximum
polyphony is 128 notes when playing polyphonically,
or 16 voices in unison mode.
VCF EG), use “BIPOLAR” to specify the polarity (+, +
–), and use “INTENSITY” to control the maximum
pulse width that will be modulated.
PW: Pulse Wave. If you’ve selected PW, you can use
the PW “WIDTH” to control the pulse width.
SEMITONE [–24...+00...+24]
Adjusts the pitch of the oscillator in step of one semi-
tone (100 cents). The range of adjustments is ± 2
octaves.

LEVEL [0.00...10.00]
Adjusts the output level of the oscillator.
In monophonic mode (“KEY ASSIGN MODE” is UNI-
SON or CHORD), VCO2–4 will be considered as har-
monics of VCO1, allowing you to synthesize
waveforms that could not have been created using just
the waveform selected by “WAVEFORM.” If the “KEY
ASSIGN MODE” is set to ORIGINAL, it is customary
to set the same volume level for all VCOs.

VCO2, VCO3, VCO4

TUNE [–100.0...+0.0...+100.0 cent]
Creates a slight difference in pitch between the four
oscillators, making the sound thicker. Higher values
will create a greater pitch difference.
Note: If you right-click (Mac: Control-click) within the WAVEFORM [TRIANGLE, SAW, PWM, PW]
VCO1–4 sections, a popup menu will appear, allowing
Selects the waveform of oscillator. (☞VCO1 “WAVE-
you to copy/paste VCO settings. (☞“Copy/Paste” on
FORM”)
page 41)
SEMITONE [–24...+00...+24]
Adjusts the pitch of a single oscillator in step of one
VCO1 semitone (100 cents). The range of adjustments is ± 2
octaves. (☞VCO1 “SEMITONE”)
WAVEFORM [TRIANGLE, SAW, PWM, PW]
Selects the waveform of oscillator. LEVEL [0.00...10.00]
TRIANGLE: Triangle wave has fewer overtones than Adjusts the output level of the oscillator. (☞VCO1
sawtooth wave or square wave, and is suitable for “LEVEL”)
mild tone such as bass or pads.
SAW: This sawtooth wave is appropriate for creating a
wide range of sounds typical of analog synthesizers, NOISE
including basses and pads. LEVEL [0.00...10.00]
PWM: Pulse Wave. If you’ve selected PWM, you can Adjusts the output level of the white noise.
use MG or VCF EG to modulate the pulse width, creat- You can use the this for a variety of sound shaping sit-
ing a variety of sounds. As the PWM “PWM uations, such as adding breath noise for a wind instru-
SOURCE,” select a modulation source (MG1, MG2, ment sound, or as part of a special effect sound.

11
 Parameters

PITCH CONTROL MODULATION

PWM (Pulse Width Modulation)

You can set these parameters if the oscillator waveform
is set to PWM.
PORTAMENTO
Portamento is a function that creates a smooth transi- BIPOLAR (PWM SRC Bipolar) [ON (+–), OFF (+)]
tion in pitch between one note and the next. Selects the polarity of the modulation source.
ON (+–): The VCF EG and MG will apply modulation
TIME (PORTAMENTO TIME) [0.00...10.00] in the “+” and “-” directions.
Specifies the portamento time. Higher settings will
make the pitch change more slowly. Portamento is +
VCF EG
+
MG1, MG2 (WAVEFORM: TRIANGLE)

applied even if you play chords.

0 0

DETUNE – –

DETUNE [0.00...10.00] OFF (+): The VCF EG and MG will apply modulation
Creates a slight difference in pitch between the four in only the “+” direction.
oscillators, making the sound thicker. Higher values
VCF EG MG1, MG2 (WAVEFORM: TRIANGLE)
will create a greater pitch difference. + +

0 0

TRANSPOSE – –

TRANSPOSE [–24...+0...+24]
Adjusts the pitch of all of the oscillators in steps of one PWM SOURCE [VCF EG, MG1, MG2]
semitone (100 cents). The range of adjustment is ±2 Selects the modulation source for pulse width.
octaves.
VCF EG: VCF EG will modulate the pulse width.
MG1: MG1 will modulate the pulse width.
MASTER MG2: MG2 will modulate the pulse width.

TUNE [–100.0...0.0...+100.0 cent] INTENSITY [0.00...10.00]

Adjusts the pitch of all of the oscillators in steps of one
cent. The range of adjustment is ±100 cents.
Specifies the maximum pulse width modulation
applied by the source selected by “PWM SOURCE.”
If “INTENSITY” is 0, the pulse width will be 50%.
If “BIPOLAR” is ON, raising the “INTENSITY” value
can make the pulse width less than 50%, depending on
the modulation source.

12

PW (Pulse Width)
You can set the following parameter if the oscillator
waveform is set to PW. If you’ve set the waveform of
two or more VCOs to PW, use “WIDTH” to control the
pulse width of each of these VCOs.
WIDTH [0.00...10.00]
Specifies the pulse width. Settings of 0.00 or 10.00 will
produce silence.
VCO MODULATION
ON/OFF [ON, OFF]
Switches oscillator modulation on/off.
MOD TYPE (VCO Modulation Type)
[SYNC , S&X, X-MOD ]
Selects the modulation type.
SYNC: Sync modulation will be applied.
S&X: Sync modulation and cross modulation will be
applied.
X-MOD: Cross modulation will be applied.
MOD MODE (VCO Modulation Mode)
[SINGLE, DOUBLE]
Specifies how modulation will be applied.
SINGLE: If “MOD TYPE” is SYNC, VCO2–4 will syn-
chronize to the pitch of VCO1. If “MOD TYPE” is X-
MOD, the output of VCO1 will modulate VCO2–4.
DOUBLE: If “MOD TYPE” is SYNC, VCO2 will syn-
chronize to the pitch of VCO1, and VCO4 will synchro-
nize to the pitch of VCO3. If “MOD TYPE” is X-MOD,
the output of VCO1 will modulate the pitch of VCO2,
and the output of VCO3 will modulate the pitch of
VCO4.
X-MOD (VCO Cross Modulation Intensity)
[0.00…10.00]
Adjusts the depth of cross modulation when “MOD
TYPE” is X-MOD.
FREQ MOD (VCO Frequency Modulation Intensity)
[0.00…10.00]
Adjusts the depth of modulation. Raising this value
will also affect the pitch of VCO2–VCO4 (or VCO2 and
VCO4).
BIPOLAR ( VCO Frequency Modulation Bipolar)
[ON (+–), OFF (+)]]
Selects the polarity of the modulation source.
(☞“BIPOLAR (PWM SRC Bipolar)” )
FREQ MOD SOURCE (VCO Frequency Modulation
Source Select) [VCF EG, MG1]
Selects the modulation source applied to VCO2–VCO4
(or VCO2 and VCO4) when “MOD TYPE” is SYNC.
Program parameters
MG1, MG2
(Modulation Generators 1 and 2)
You can use MG1 as the modulation source for PWM,
the FREQ MOD SOURCE for VCO MODULATION, or
via EXTERNAL MODULATION as a modulation
source for other parameters. The FREQUENCY knob
adjusts the speed of MG1. This speed is indicated by
the blinking LED.
You can use MG2 to control the speed of PWM or the
arpeggiator. Use the [FREQUENCY] knob to adjust the
speed of MG2. Just as for MG1, the speed is indicated
by the blinking LED.
Note: If you right-click (Mac: Control-click) within the
MG1 or MG2 section, a popup menu will appear,
allowing you to copy/paste MG settings. (☞“Copy/
Paste” on page 41)
KEY (KEY SYNC) [ON, OFF]
If this setting is ON, the phase of the MG (Modulation
Generator) will be reset at each note-on.
TEMPO (TEMPO SYNC) [ON, OFF]
If this is ON, the MG (Modulation Generator) will syn-
chronize to the tempo of the host application (when
operating as a plug-in).
When this is ON, the color of the “FREQUENCY” LED
will be blue.
When this is OFF, the color of the “FREQUENCY” LED
will be red.
Note: If you have selected a MIDI device as the “Clock
Master” in the Preference – MIDI Setting dialog box,
the Modulation Generator will synchronize to the
MIDI clock from that MIDI device.
BASE NOTE [1/1...1/32]
If “TEMPO SYNC” is ON, one cycle of the MG will
equal the note value you select for “BASE NOTE” (at
the synchronized tempo) multiplied by the “TIMES”
specified by the “FREQUENCY/TIMES” knob.
If “TEMPO SYNC” is OFF, this parameter does noth-
ing.
When “BASE NOTE”: 1/4 (
), then the MG cycle will be:
•
(one beat = one cycle) if “TIMES”: 1
•  (two beats = one cycle) if “TIMES”: 2
•  (four beats = one cycle) if “TIMES”: 4
When “BASE NOTE”: 1/16 ( ), then the MG cycle will be:
•  (one beat = four cycles) if “TIMES”: 1
•  (one beat = two cycles) if “TIMES”: 2
•
(one beat = one cycle) if “TIMES”: 4
FREQUENCY/TIMES [0.00...10.00/01…16]
If “TEMPO SYNC” is ON, this setting specifies the
cycle of the MG in conjunction with “BASE NOTE.”
(☞“BASE NOTE”).
If “TEMPO SYNC” is OFF, this adjusts the frequency of
the MG.
13
 Parameters

WAVEFORM VCF (Voltage Controlled Filter)

[TRIANGLE, SAW DOWN, SAW UP, RECTANGLE,
SAMPLE&HOLD]
Selects the MG waveform.

EXTERNAL MODULATION
External modulation is a function that lets you assign
modulation sources as MG, EG, velocity, keyboard
track to a variety of parameters. For each program you
can create up to eight of these combinations.

EXT MOD SELECT (External Modulation Select)

[A, B]
Indicates the external modulation you’re setting.
If you click A, external modulation 1-4 will become vis-
ible and editable.
If you click B, external modulation 5-8 will become vis- VCF
ible and editable.
CUTOFF [0.00...10.00]
A: 1...4, B: 5...8 Adjusts the cutoff frequency of the filter.

RESONANCE [0.00...10.00]
SOURCE
Boosts the region near the cutoff frequency. When this
[No Assign, Velocity (+)...Noise VGA EG (+–)]
knob is at or near the maximum setting, the filter will
Selects the modulation source.
self-oscillate.
If you’ve selected MIDI1–MIDI4, you can use the Glo-
bal parameter “EXTERNAL MODULATION CON-
EG INTENSITY [–5.00...+0.00...+5.00]
TROL CHANGE” to specify the MIDI control change Specifies the depth and direction to which the EG will affect
numbers. (☞“Modulation Source List” on page 47)
the cutoff frequency.

DESTINATION [No Assign, VCO Pitch...Panpot]

Selects the parameter that will be the modulation desti-
nation. (☞“Modulation Source List” on page 47)
INTENSITY [–10.00...+00.00...+10.00]
Specifies the depth of the modulation produced by the
modulation source. If this is set to 0.00, no modulation
will occur.
KBD TRACK (Keyboard Track) [0.0...150.0%]
Adjusts the depth to which the cutoff frequency will
change according to the pitch of the note that is input.
With a setting of 100, the change in cutoff frequency
will be proportionate to the change in pitch.
VCF EG (Voltage Controlled Filter
Envelope Generator)
This is an EG with the basic ADSR parameters. It con-
trols the VCF.
Note: If you use external modulation, this VCF EG can
be a modulation source for parameters other than the
VCF.
Note: If you right-click (Mac: Control-click) within the
VCF EG section, a popup menu will appear, allowing
you to copy/paste VCF EG settings. (☞“Copy/Paste”
on page 41)

ATTACK (Attack Time) [0.00...10.00]

Adjusts the time from note-on until the attack level is
reached.

DECAY (Decay Time) [0.00...10.00]

Adjusts the time over which the level changes from the
attack level to the sustain level.

SUSTAIN (Sustain Level) [0.00...10.00]

Adjusts the sustain level.

RELEASE (Release Time) [0.00...10.00]

Adjusts the time over which the level falls from the
sustain level to zero following note-off.

14
 Program parameters

VCA BEND, OUTPUT

(Voltage Controlled Oscillator)

BEND
VCA EG (Voltage Controlled Amplifier RANGE (Bend Range) [0.00...24.00]
Envelope Generator) Specifies the amount of pitch change that will occur
when you operate the pitch bend wheel or the pitch
This is an EG with the basic ADSR parameters. It con- bender of a MIDI controller connected to your com-
trols the VCA. puter. This setting specifies the pitch change that will
Note: If you use external modulation, this VCA EG can occur when the pitch bender is operated all the way in
be a modulation source for parameters other than the the positive (+) direction.
VCA.
Note: If you right-click (Mac: Control-click) within the
VCA EG section, a popup menu will appear, allowing OUTPUT
you to copy/paste VCA EG settings. (☞“Copy/Paste”
on page 41) PAN [L50...CENTER...R50]
Adjusts the panning of the Mono/Poly’s output.
ATTACK (Attack Time) [0.00...10.00]
Adjusts the time from note-on until the attack level is This setting won’t have any effect if you’re using
reached. a Mono In–Stereo Out or Mono In–Mono Out
effect with a completely “Wet” balance.
DECAY (Decay Time) [0.00...10.00]
Adjusts the time over which the level changes from the VOLUME [0.00...10.00]
attack level to the sustain level. Adjusts the Mono/Poly’s output prior to being routed
to the effects section..
SUSTAIN (Sustain Level) [0.00...10.00] The setting you make here will determine the input
Adjusts the sustain level. level to the effects.

RELEASE (Release Time) [0.00...10.00]

Adjusts the time over which the level falls from the
sustain level to zero following note-off.

15
 Parameters

ARPEGGIATOR KEY ASSIGN MODE

ARPEGGIATOR BY MG2 KEY ASSIGN MODE

Use the MG2 [FREQUENCY/TIMES] knob to adjust
the playback speed of the arpeggiator.
ON/OFF (Arpeggiator ON/OFF Switch) [ON, OFF]
Switches the arpeggiator on/off.
HOLD [ON, OFF]
If this is ON, notes will be held following note-on.
If the arpeggiator is on, Hold will be turned off.

LATCH (Arpeggiator Latch) [ON, OFF] KEY ASSIGN MODE

Specifies whether the arpeggiator will continue play-
ing even after note-off occurs.
MODE (Arpeggiator Mode)
[UP/DOWN, DOWN, UP, RANDOM]
Selects the pattern that the arpeggiator will play.
With the RANDOM setting, notes will be played ran-
domly within the performance region specified by
“RANGE.”
RANGE (Arpeggiator Range)
[1OCTAVE, 2OCTAVE, FULL]
Specifies the range in which the arpeggiator will play
the pattern.
[MONO: CHORD, MONO: UNISON,
POLY: ORIGINAL, POLY: POLY]
CHORD (Monophonic mode): Memorizes the chord
you are playing, so that you can play that chord in any
key by triggering only one note.
UNISON (Monophonic mode): Makes the Mono/Poly
play in Unison mode.
ORIGINAL (Polyphonic mode): The synthesizer will
operate in the same way as when the original Mono/
Poly was set to POLY. You can use VCO1–VCO4 to
play polyphonically. Since one oscillator will be
assigned to each note, you’ll be able to play a maxi-
mum of four simultaneous notes.

VCO1 C

VCO2 E

VCO3 G

VCO4 B

POLY (Monophonic mode): The synthesizer will play

polyphonically. Four oscillators will be assigned to
each note.

If either “CHORD,” UNISON,” “ORIGINAL,” or

“POLY” is turned on, the others will be turned
off.

Using chord memory

1. In “KEY ASSIGN MODE,” turn POLY on.
2. While holding down a chord, press the [CHORD]
button.
The chord you’re holding down will be memo-
rized. Now when you play a single note on the key-

16

board, the intervals of the memorized chord will
sound.
Note: When the [HOLD] button is on, you can also
play a chord by holding down each note of the
chord on the keyboard.
When the [CHORD] button is on, the chord edit
button is shown in the upper right of the display.
Chord edit button
You can edit the memorized chord, or create a chord
from scratch.
3. Click the chord edit button shown in the display.
The memorized chord is shown on the keyboard.
A three-octave note region is shown.
4. To add a note to the chord, click the key for the note
you want to add. To remove a note from the chord,
click the key for the note you want to remove.
If the note you want to add or remove is not shown
in the keyboard (i.e., if the note is not in the three-
octave region), click the OCTAVE [–]/[+] buttons
located in the lower right of the display; the dis-
played region of notes will shift in one-octave steps.
5. You can also click the TEMPLATE [▼] button and
select preset chords from the popup menu.
6. Click the [OK] button to confirm the edited chord,
or click the [CANCEL] button to cancel.
Program parameters
VOICES
VOICES
TRIGGER MODE [SINGLE, MULTI (MULTIPLE)]
Specifies whether the note will be retriggered if you
play another key before releasing the previous key.
This parameter is valid when you’re playing mono-
phonically (“KEY ASSIGN MODE” set to UNISON,
CHORD, or ORIGINAL); the setting is ignored if
you’re playing polyphonically.
SINGLE: EG and MG will not be retriggered for the
second or any subsequent notes, until all previously
held notes have been released.
MULTI: EG and MG will be retriggered each time you
play a note.
TOTAL [001...128]
Specifies the maximum polyphony.
UNISON [01...16]
Specifies the number of unison voices used when play-
ing polyphonically.
The maximum polyphony when playing poly-
phonically depends on “TOTAL” and “UNI-
SON.” The actual maximum polyphony will be
the “TOTAL” value divided by the “UNISON”
value.
DETUNE [0.00…10.00]
Specifies the detuning (pitch difference) between
simultaneously-sounded voices when you use “UNI-
SON” to play multiple voices in unison.
This is also valid if “KEY ASSIGN MODE” is UNISON
or CHORD.
This parameter does nothing if “UNISON” is set
to 1.00 (a single voice).
SPREAD [0.00…10.00]
Spreads the voices between the left and right channels
when you use “UNISON” to play multiple voices in
unison. If the “UNISON” setting is odd-numbered,
only one voice will be located in the center.
This is also valid if “KEY ASSIGN MODE” is UNISON
or CHORD
ANALOG [0.00…10.00]
Controls the amount of randomness applied to the
oscillator pitch and the filter cutoff frequency at each
note-on.
17
 Parameters

MASTER OUTPUT

MASTER
VOLUME [0.00...10.00]
Adjusts the overall output level after the sound has
passed through the effects.

18
 Program parameters

EFFECTS
The Mono/Poly features nineteen built-in effect algorithms, which you can use singularly, or two at a time in any
combination.

TEMPLATE button

Effect ON/OFF
Effect display

DRY/WET knob

INPUT/OUTPUT slider Effect parameters

Effect display Effect parameters

This area shows the effect(s) you are using. The parameters of the selected effect are shown here.
When you click the effect type name shown in the Use the mouse to edit the parameters directly.
effect display, a popup menu will appear, allowing you For details on the effect parameters and other effect
to choose an effect type. functions, refer to “Effect parameters” on page 22 .

TEMPLATE button
The Mono/Poly’s effects provide templates containing
preset effect settings. An easy way to make effect set-
tings is to select a template that is close to the effect
sound you want, and then edit it to your taste.
Click this to access the popup menu, and then select a
template.

Effect ON/OFF
Switches the effect on/off. If the effect is on, the LED
will light

DRY/WET knob
Adjusts the balance between the effect sound and
direct sound. The “DRY/WET” parameter can be con-
trolled by Dynamic Modulation. To specify the
dynamic modulation setting, double-click the knob.
(☞“About the Dynamic Modulation function” on
page 22)

INPUT slider
Adjusts the input level to the effect. Watch the input
level meter located above the slider and listen to the
audio output while you adjust this slider.

OUTPUT slider
Adjusts the output level of the effect. Watch the output
level meter located above the slider and listen to the
audio output while you adjust this slider.

No sound will be output if you set the output

level to 0.

19
 Parameters

Global parameters
Here you can make settings that apply to the entire Mono/Poly software synthesizer, such as master tune, transpose,
global MIDI channel, MIDI filtering, and user scale. Click the [GLOBAL] button to enter Global mode.
These settings are automatically memorized even if you don’t write them, but will disappear when you exit the
application. If you want to save the settings, use the [FILE] button.
Global parameter settings are saved as global data (extension .mp4global) or as all data (extension .mp4all).

EXTERNAL MODULATION CONTROL MIDI FILTER

CHANGE
CTRL CHG (Control Change) [ENABLE, DISABLE]
Here you can select the MIDI control change messages Disables or enables MIDI control change reception.
used by the MIDI1–MIDI4 modulation sources for DISABLE: Receives.
external modulation. If you select MIDI1–MIDI4 as a ENABLE: Does not receive.
“SOURCE,” the MIDI control change message (CC#)
specified here will be used as the modulation source. PROG CHG (Program Change) [ENABLE, DISABLE]
Disables or enables program change reception.
SOURCE1–4 DISABLE: Receives.
[None, CC0: Bank Select...CC95: FX 5 Depth] ENABLE: Does not receive.
Select the CC# used for each EXTERNAL MODULA-
TION “SOURCE” MIDI1–4. If you select MIDI1–4 as AFTER TOUCH (After Touch) [ENABLE, DISABLE]
an external modulation “SOURCE,” the CC# you spec- Disables or enables aftertouch reception.
ify here will be the modulation source. DISABLE: Receives.
By default, MIDI1 is CC#1: Modulation (+), MIDI2 is ENABLE: Does not receive.
CC#2: Breath (+), MIDI3 is CC#16 (+–), and MIDI4 is
CC#17 (+–z). CC TO AUTOMATION [ENABLE, DISABLE]
When using MIDI control change messages to control
POLARITY [+–, +] parameters, this setting specifies whether those values
Specifies the polarity of control. will also be written to the automation of the host appli-
cation.
With the + setting, operating the control in the positive
If this setting is disabled, controlling parameters will
direction (relative to the 0 value) will deepen the mod-
not cause automation to be written.
ulation effect. When the control is at 127, the modula-
Note: This parameter is valid when using the Mono/
tion will be at the maximum depth.
Poly software synthesizer as a plug-in.
With the +– setting, operating the control above or
below the center position of 64 will apply modulation
in the corresponding positive or negative amount. 127
is maximum, and 0 is minimum.

20
 Global parameters

TUNING OUTPUT SETTING

MASTER TUNE [420.00...460.00 Hz]
Adjusts the overall pitch of the entire instrument,
expressed as the pitch of the A4 note (A=440.00 Hz).
Drag this upward or downward to adjust the value in
0.1 Hz steps.
You can adjust the value in 0.01 Hz steps by holding
down the [Shift] key of your computer and dragging
upward or downward. Alternatively, you can double-
click this and enter a value directly from the numeric
keypad of your computer. This method allows you to
set the value in 0.01 Hz units.
EFFECT1 [ENABLE, DISABLE]
Switches effect 1 on/off for all programs.
DISABLE: Effect 1 will be disabled for all programs.
ENABLE: Effect 1 will be enabled for all programs.
EFFECT2 [ENABLE, DISABLE]
Switches effect 2 on/off for all programs.
DISABLE: Effect 2 will be disabled for all programs.
ENABLE: Effect 2 will be enabled for all programs.
OUTPUT GAIN [–12dB, –6dB, 0dB, +6dB]

SCALE TYPE [Equal Temperament...User Scale12]
Selects the scale type (temperament). You can choose
one of sixteen scale types.
Equal Temp: This is the most commonly used scale.
Each semitone is spaced at an equal distance from the
others (equal temperament).
Equal Temp Random: A random pitch deviation is
applied to equal temperament each time a note-on
occurs.
Pure Major: In this scale, the principle major chords in
the selected key will be perfectly harmonious (pure
major temperament).
Pure Minor: In this scale, the principle minor chords in
the selected key will be perfectly harmonious (pure
minor temperament).
User1–12: These are scales that you create in “MICRO
TUNE.” You can choose from twelve user-edited
scales.
ROOT KEY [C...B]
Specifies the key (tonic) of the scale that will be used if
you’ve selected Pure Major or Pure Minor as the
“SCALE.”
Adjusts the final output level.
USER INTERFACE
KEY FOCUS [ENABLE, DISABLE]
Specifies whether Key Focus (☞p.8) will be enabled.
DISABLE: Key Focus will be disabled.
ENABLE: Key Focus will be enabled.
When using the Mono/Poly software synthesizer as a
plug-in for your sequencer software, this setting pre-
vents cursor key operations from being duplicated.
Note: Regardless of the Key Focus setting, characters
and numerals can be entered as the names of programs
etc. and as parameter values.
TOOL TIP [ENABLE, DISABLE]
Specifies whether Tool Tip (☞p.8) display will be
enabled. This is a function that temporarily displays
the value when you’re editing a parameter (such as a
graphical filter) that does not normally display the
value.
DISABLE: Tool Tips are not shown.
ENABLE: Tool Tips are shown.

MICRO TUNE C...B [–99...+99 cent] FADE [ENABLE, DISABLE]

Here you can specify the tuning of each note in a user
scale. In the “SCALE” field, select User1–13 and then
specify the pitch of each note in the octave. These set-
tings are saved automatically, and you can recall them
when desired by selecting a user scale in “SCALE.”
The pitch of each note (C–B) in a one-octave range can
be adjusted over a range of –99 –+99 relative to the
equal-tempered pitch (0).
With a setting of +99, the pitch will be nearly a semi-
tone above the standard (equal-tempered) pitch.
With a setting of –99, the pitch will be nearly a semi-
tone below the standard pitch.
Specifies whether the Tool Tip (if displayed) will fade
out.
ENABLE: The Tool Tip display will fade out.
DISABLE: The Tool Tip display will not fade out.
CONTROLLER ASSIGN [ENABLE, DISABLE]
Shows/hides the CC#s assigned to the Mono/Poly’s
knobs and switches.
ENABLE: The CC# assigned to the knobs and switches
are shown.
DISABLE: The CC# assigned to the knobs and
switches are not shown.

The “MICRO TUNE” settings are not available if

you’ve set “SCALE” to Equal Temp, Equal Temp
CATEGORY NAME
Random, Pure Major, or Pure Minor.
Category Name 1…16 [Text]
Here you can rename the program category names.
Double-click a category name, use your computer key-
board to enter the desired category name, and press
the [Enter] key.

21
 Parameters

Effect parameters
About the Dynamic Modulation function
Many effect parameters support Dynamic Modulation, DYNAMIC MODULATION SOURCE
allowing you to control these parameters from a con- The following dynamic modulation sources are avail-
nected external MIDI device while you perform. You able.
can use this to make your performance more expres-
sive. For example you might use aftertouch to control Gate1, Gate1+Dmp (Gate1+Damper)
the chorus or flanger LFO speed, or use a CC# to con-
Gate1,Gate1+Dmp
trol wah from a MIDI controller.
1 2 1 3 2 3
Of the effect parameters displayed, parameters whose Note

knobs have an indicator on the ring support dynamic Damper Pedal

modulation. Double-click one of these knobs to view On

Gate1 Off
the dynamic modulation settings.
Gate1+Dmpr

Time

Gate1 uses note-on/off to control the parameter. The

effect will be at maximum while the note is on, and
will stop when note-off occurs.
Gate1+Dmp uses note-on/off + damper on/off to con-
trol the parameter. Even if note-off is received, the
In most cases, dynamic modulation parameters consist effect will continue at maximum until CC#64 (damper
of a “SOURCE” and “AMOUNT” settings. “SOURCE” pedal) Off is received.
selects the modulation source. Click “SOURCE” and
choose a source from the menu that appears. Gate2, Gate2+Dmp (Gate2+Damper)
“AMOUNT” specifies the amount of effect produced
Gate2,Gate2+Dmp
by dynamic modulation.
1 2 1 3 2 3
When the modulation source is at its maximum, the Note
parameter value plus the “AMOUNT” value will be Damper Pedal
the actual value of the parameter. On
Gate2 Off
For example with settings of “WET/DRY” 10:90,
“SOURCE” After Touch, and “AMOUNT” +50, the Gate2+Dmpr
effect balance is normally 10:90, but the proportion of
effect sound will gradually increase as you apply after- Time

touch. When you are applying the maximum amount

of aftertouch, the effect balance will be 60:40.
Note: If you adjust the “AMOUNT” setting while
dynamic modulation is being applied, the dynamic
modulation effect will not change. The new setting
will apply the next time you operate the dynamic
modulation source.
Note: Parameters that support dynamic modulation
are indicated by the symbol.
Gate2 uses note-on/off (retriggered) to control the
parameter.
Gate2+Dmp uses note-on + damper on/off (retrig-
gered) to control the parameter.
These two sources operate in essentially the same way
as Gate1 and Gate1+Dmp, but Gate2 and Gate2+Dmp
will retrigger the target parameter at every note-on.
(Gate1 and Gate1+Dmp retrigger only at the first note-
on.)

Note No.
Note number will control the parameter.

Velocity
Velocity will control the parameter.

After T.
Aftertouch (channel pressure) will control the
parameter.

Pitch Bend
Pitch bend will control the parameter.

CC 1: Modulation, CC 2: Breath, CC16, CC17

Use a MIDI control change to control the parameter.

22
 Effect parameters

About the TEMPO SYNC function

You can use TEMPO SYNC on effects that have an LFO
(Low Frequency Oscillator), such as flanger or LCR
BPM Delay. This lets you apply modulation that is syn-
chronized to the tempo, or specify the delay time in
terms of a note value so that it will remain synchro-
nized even if you adjust the tempo.

Example 1. LFO
• “TEMPO SYNC”: ON
• “BASE NOTE”: 1/4 (
)
• “TIMES”: 1
In this example, one cycle of the LFO will be the same
length as a quarter note.

TEMPO Sync: LFO

LFO

Example 2. Delay time

• “L DELAY BASE NOTE”: 1/8 (  )
• “TIMES”: 1
• “R DELAY BASE NOTE”: 1/16 (  )
• “TIMES”: 3
In this example, the left channel delay time is set to an
eighth note, and the right channel delay time is set to a
sixteenth note triplet.

TEMPO Sync: Delay Time

Dry Wet

Lch

Dry Wet

Rch

Note: A “T” appended to the note value for “Base

Note” indicates a triplet.

23
 Parameters

00: No Effect
Choose this if you don’t want to use an effect. The input will be output without change.

01: Dynamic Compressor

This is a stereo compressor that compresses the input signal, making it more consistent and punchy. It is especially
effective when used on piano or drums. Processing is performed in stereo, and you can link the left and right chan-
nels or use them independently.

2 4

1 3 5 6 7

1. EQ-TRIM [–24.00dB…0.00dB]
Adjusts the input level to the equalizer.

2. EQ-HIGH [–15.00dB…0.00dB…+15.00dB]
Adjusts the gain of the high-frequency equalizer.

3. EQ-LOW [–15.00dB…0.00dB…+15.00dB]
Adjusts the gain of the low-frequency equalizer.

4. L/R LINK [L R, L+R]

Specifies whether the operation of the left and right
channels will be linked, or whether they will operate
independently.

5. ATTACK [0.100ms…500.0ms]
Adjusts the strength of the compressor’s attack.

6. SENS. (Sensitivity) [1.0…100.0]

Adjusts the sensitivity.

7. LEVEL [0.0…100.0]
Adjusts the output level.
When you double-click the “LEVEL” knob, the follow-
ing dynamic modulation parameters will appear.
(☞p.22)
SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the output
level.
AMOUNT [–100…+100]
Specifies the amount by which the output level will
be modulated.

24
 Effect parameters

02: Compressor
This is a stereo compressor that compresses the portion of the sound that exceeds a specified level, preventing
unwanted peaks from occurring. By applying a filter to the trigger signal you can freely specify the band to which
the compressor responds. The left and right channels can also be linked.

1 2 3 4 9 11 13

5 6 7 8 10 12 14

1. SOURCE [L, R, L R, L+R]

Selects the input source whose level will be detected.

2.DETECT [PEAK, RMS]

Selects whether the level will be detected from the
peak or from the RMS average.

3. LOOK AHEAD [ON, OFF]

Selects whether level detection will look ahead.

4. TRIG.MONITOR [ON, OFF]

Switches monitoring between the effect output and the
trigger signal.

5. SIDECHAIN [ON, OFF]

Switches the filter that is applied to the trigger signal.

6. TYPE [ (LPF), (BPF), (HPF), (BRF)]

Selects the type of filter applied to the trigger signal.

7. FREQ (Frequency) [20.00Hz…12.00kHz]

Specifies the center frequency of the filter applied to
the trigger signal.

8. Q [0.500…10.000]
Adjusts the bandwidth of the filter applied to the trig-
ger signal.

9. THRESHOLD [–40.00dB…0.00dB]
Adjusts the level at which compression will be applied.

10. RATIO [1.000:1… :1]

Adjusts the compression ratio.

11. ATTACK [0.100ms…500.0ms]

Adjusts the attack time.

12. RELEASE [1.000ms…5000ms]

Adjusts the release time.

13. KNEE [0.00dB…30.00dB]

Adjusts how suddenly the signal will be compressed.
Higher settings of this parameter will produce softer
compression.

14. OUTPUT GAIN [– dB…+24.00dB]

Adjusts the output gain.

25
 Parameters

03: Multi Band Limiter

This is a stereo multi-band limiter that divides the input signal into low, mid, and high-frequency bands, and applies
limiting to each band. Since this lets you control the dynamics independently for each frequency band, you can
adjust the loudness of the low, mid, and high-frequency bands in a way unlike an equalizer.

1 3

2 4 5 6 7 8

1. RATIO [1.000:1… :1]

Adjusts the compression ratio.

2. THRESHOLD [–40.00dB…0.00dB]
Adjusts the level at which compression will be applied.

3. ATTACK [0.100ms…500.0ms]
Adjusts the attack time.

4. RELEASE [1.000ms…5000ms]
Adjusts the release time.

5. LOW [–40.00dB…0.00dB]
Adjusts the trigger signal gain for the low-frequency
region.

6. MID [–40.00dB…0.00dB]
Adjusts the trigger signal gain for the mid-frequency
region.

7. HIGH [–40.00dB…0.00dB]
Adjusts the trigger signal gain for the high-frequency
region.
Note: If you want to avoid compressing a specific fre-
quency region, lower the setting for that region to a
point below the “THRESHOLD” level. With this set-
ting, the limiter for that region will not respond, and
compression will not be applied.

8. GAIN [– dB…+24.000dB]
Adjusts the output gain.
When you double-click the “GAIN” knob, the follow-
ing dynamic modulation parameters will appear.
(☞p.22)
SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the output
gain.
AMOUNT [–100…+100]
Specifies the amount by which the output gain will
be modulated.

26
 Effect parameters

04: Mastering Limiter

This is a mastering limiter. You can use it effectively to make the sound subjectively louder, or to adjust the level.

1 2 3

1. THRESHOLD [–30.00dB…0.00dB]
Adjusts the level at which compression will be applied.
The output level will automatically increase by the
amount of compression.

2. OUTCEILING [–30.00dB…0.00dB]
Adjusts the output level.

3. RELEASE [0.010ms…1000.0ms]
Adjusts the release time.

27
 Parameters

05: OverDrive/Hi. Gain + Wah

This is a distortion effect with two modes; overdrive and high-gain. It provides wah, a three-band equalizer, and an
amp simulator to allow for give you a wide range of distortion sounds. This effect is ideal for organ or guitar sounds.

1 3 5 8

2 4 6 7

1. OUTPUT [0.00…50.00]
Adjusts the output level. MID1
LOW
“OUTPUT” is the input level to the three-band equal-
izer. If the signal clips in the three-band equalizer,
adjust this “OUTPUT” parameter.
When you double-click the “OUTPUT” knob, the fol-
MID2
lowing dynamic modulation parameters will appear.
(☞p.22)
SOURCE [OFF, Gate1…CC17] Set the frequency (“FREQ”) by dragging a point to
Selects the source that will modulate the output left/right, set the gain (“GAIN”) by dragging up/
level. down, and set the bandwidth (“Q”) by holding down
AMOUNT [–100…+100] the [Alt] key (Mac: [Option] key) and dragging to left/
Specifies the amount by which the output level will right. For any of these parameters, you can make fine
be modulated. adjustments by holding down the [Shift] key while you
drag.
2. LOW CUT [THRU, 1.0Hz…180.0Hz]
Adjusts the amount of low-frequency cut that is LOW
applied at the input to the distortion. You can produce FREQ (Frequency) [20.00Hz…20.00kHz]
a sharper distortion by cutting the low-frequency Specifies the center frequency of the low-range
before the signal enters the distortion unit. equalizer band (shelving type).
GAIN [–18.0dB…+18.0dB]
3. WAH [ON, OFF] Adjusts the gain of the low-range equalizer band.
Switches the wah on/off.
MID 1
4. RANGE [0.00…10.00] FREQ (Frequency) [20.00Hz…20.00kHz]
Adjusts the range over which the center frequency of Specifies the center frequency of the MID1 equalizer
the wah will be swept. When you double-click the band (peaking type).
“RANGE” knob, the following dynamic modulation Q [0.50…10.00]
parameter will appear. (☞p.22) Adjusts the bandwidth of the MID1 equalizer band.
SOURCE [OFF, Gate1…CC17] GAIN [–18.0dB…+18.0dB]
Selects the modulation source that will control the Adjusts the gain of the MID1 equalizer band.
wah.
MID 2
5. TYPE [O.D. (OVER DRIVE), HI-GAIN]
FREQ (Frequency) [20.00Hz…20.00kHz]
Switches between overdrive and high-gain distortion.
Specifies the center frequency of the MID2 equalizer
band (peaking type).
6. DRIVE [1.0…100.0]
Adjusts the depth of distortion. The depth of distortion Q [0.50…10.00]
is determined by the size of the input signal itself Adjusts the bandwidth of the MID2 equalizer band.
together with this “DRIVE” parameter. Since raising GAIN [–18.0dB…+18.0dB]
“DRIVE” will increase the overall volume, you’ll need Adjusts the gain of the MID2 equalizer band.
to use “OUTPUT” to adjust the volume.
8. CABINET [ON, OFF]
7. 3 Band EQ Switches the cabinet simulator on/off.
This is a three-band EQ with LOW, MID1, and MID2.
Set the three points by dragging them with the mouse. 9. DIRECT MIX [0.00…50.00]
For LOW you can set the frequency and gain, and for Adjusts the amount of direct sound that is mixed with
MID1 and MID2 you can set the frequency, bandwidth, the distortion.
and gain.

28
 Effect parameters

06: 4 Band EQ
This is a stereo four-band parametric equalizer. Bands 1 and 4 allow you to choose either peaking or shelving types.

2 1 4

3 5 6 7

1. TRIM [–24.00dB…0.00dB] 6. Q [0.500…10.000]

Adjusts the input level. Adjusts the bandwidth of each band.
Use the EQ display or “BAND select” to select a band,
2. EQ display and then adjust this parameter.
Use the mouse to drag the four points that control
band 1, band 2, band 3, and band 4. 7. GAIN [–18.00dB…0.00dB…+18.00dB]
For each band, you can specify the frequency, band- Adjusts the gain of each band.
width, and gain. To adjust the parameters of each Use the EQ display or “BAND select” to select a band,
band, use the mouse to drag the points in the “EQ dis- and then adjust this parameter.
play” located in the center. Alternatively, you can click
one of the “BAND select” buttons located below the
EQ display to select a band, and use the knobs to
adjust the parameters of that band.

Band1 Band3

Band2 Band4

Set the frequency (“FREQ”) by dragging a point to

left/right, set the gain (“GAIN”) by dragging up/
down, and set the bandwidth (“Q”) by holding down
the [Alt] key (Mac: [Option] key) and dragging to left/
right. For any of these parameters, you can make fine
adjustments by holding down the [Shift] key while you
drag.

3. BAND Select [BAND1, BAND2, BAND3, BAND4]

These buttons select the band adjusted by the knobs
located at the right.

4. BAND 1/4 TYPE [PEAKING, SHELVING]

Selects the filter type for band 1 and band 4. This
parameter will be displayed and can be selected if
band 1 or band 4 are selected in the EQ display “BAND
select.”

5. FREQ (Frequency) [20.00Hz…20.00kHz]

Specifies the center frequency of each band.
Use the EQ display or “BAND select” to select a band,
and then adjust this parameter.

29
 Parameters

07: Exciter/Enhancer
This effect combines an exciter which improves definition of the sound, and an enhancer which adds spaciousness
and presence.

2 4 6

1 3 5 7 8

1. EQ-TRIM [–24.00dB…0.00dB] 8. DEPTH [0.0…100.0]

Adjusts the input level to the equalizer. Adjusts the depth of the enhancer effect.
When you double-click the “DEPTH” knob, the follow-
2. EQ-HIGH [–15.00dB…0.00dB…+15.00dB] ing dynamic modulation parameters will appear.
Adjusts the gain of the high-range equalizer. (☞p.22)
SOURCE [OFF, Gate1…CC17]
3. EQ-LOW [–15.00dB…0.00dB…+15.00dB] Selects the source that will modulate the depth of
Adjusts the gain of the low-range equalizer. the enhancer effect.
AMOUNT [–100…+100]
4. POINT [0.00…70.00] Specifies the amount by which the depth of the
Specifies the frequency region that the exciter will enhancer effect will be modulated.
emphasize. As you increase this value, the emphasized
frequency region will extend further downward.
When you double-click the “POINT” knob, the follow-
ing dynamic modulation parameters will appear.
(☞p.22)
SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the empha-
sized frequency region.
AMOUNT [–100…+100]
Specifies the amount by which the emphasized fre-
quency region will be modulated.

5. BLEND [–100.0…+100.0]
Adjusts the depth of the exciter effect.
Positive (+) and negative (–) settings produce a differ-
ent pattern of emphasized frequencies.
When you double-click the “BLEND” knob, the follow-
ing dynamic modulation parameters will appear.
(☞p.22)
SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the depth of
the exciter effect.
AMOUNT [–100…+100]
Specifies the amount by which the depth of the
exciter effect will be modulated.

6. L-DELAY [0.000ms…50.00ms]
Specifies the delay time for the left channel of the
exciter. You can control the sense of stereo or the sense
of depth by slightly skewing the left and right delay
times.

7. R-DELAY [0.000ms…50.00ms]
Specifies the delay time for the right channel of the
exciter.

30
 Effect parameters

08: Talking Modulator

This effect applies a vocal element to the input signal. By using dynamic modulation to vary the tone, you can create
the impression of a “talking” synthesizer or guitar

4 1 5 9 10

3 2 6 7 8

1. SWEEP MODE [LFO, MANUAL] 8. TOP [A, I, U, E, O]

Selects whether the effect will be controlled by a modu- Specifies the vowel at the top of the control range.
lation source or by the LFO. Example: if you’ve set “TOP” to a, “CENTER” to i, and
“BOTTOM” to u
2. FREQ (Frequency)/TIMES With “SWEEP MODE” set to MANUAL, and Pitch
[0.020Hz…20.000Hz/1…16] Bend assigned as the dynamic modulation source for
Adjusts the LFO speed. (☞p.25) “VOICE CTRL,” moving the pitch bend wheel in the
When you double-click the “FREQ” knob, the follow- Legacy Cell Performance page from top to bottom will
ing dynamic modulation parameters will appear. cause the vocal character to shift from “aah” to “eeh”
(☞p.22) to “ooh”.
SOURCE [OFF, Gate1…CC17] If you set “SWEEP MODE” to LFO, the LFO will cycli-
Selects the source that will modulate the LFO speed. cally vary the vocal character through the range “aah,”
AMOUNT [–100…+100] “eeh”, “ooh,” “eeh,” “aah” ...
Specifies the amount by which the LFO speed will
be modulated. 9. FORMANT [–100.0…0.0…+100.0]
Adjusts the frequency range at which the effect is
3. TEMPO SYNC [ON, OFF] applied. Set this to a larger value if you want to apply
If this is OFF, the LFO speed will be the frequency the effect to higher pitches, or set it to a lower value if
specified by “FREQ”. If this is ON, the LFO speed will you want to apply the effect to lower pitches.
be the cycle length specified by the “BASE NOTE” and
“FREQ” parameters, relative to the tempo specified by 10. RESONANCE [0.0…100.0]
the TEMPO controller in the Performance page. Adjusts the strength of resonance. Increasing this value
will give the sound a more distinctive character.
4. BASE NOTE [1/16…1/1]
Selects the note value in terms of which the LFO speed
will be specified. (☞p.23)

5. VOICE CTRL (Voice Control)

[Bottom, 1.0…49.0, Center, 51.0…99.0, Top]
Controls the vocal character.
When you double-click the “VOICE CTRL” knob, the
following dynamic modulation parameter will appear.
(☞p.22)
SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the vocal char-
acter.

6. BOTTOM [A, I, U, E, O]
Specifies the vowel at the bottom of the control range.

7. CENTER [A, I, U, E, O]
Specifies the vowel at the center of the control range.

31
 Parameters

09: Decimator
This effect lowers the sampling frequency or bit-depth of the data, giving the sound a rougher character reminiscent
of an older technology-based sampler. The typical noise of a sampler is also simulated.

1 3 5

2 4 6 7

1. PRE-LPF [ON, OFF] 6. LFO-FREQ [0.020Hz…20.000Hz]

Selects whether the high-frequency aliasing noise pro- Adjusts the LFO speed.
duced by down-sampling will be present. On samplers When you double-click the “DEPTH” knob, the follow-
with a low sampling frequency, inputting a high-fre- ing dynamic modulation parameters will appear.
quency sound that is too high for the sampler to play (☞p.22)
back correctly will generate a noise whose pitch is SOURCE [OFF, Gate1…CC17]
unrelated to the original sound. Turning “PRE-LPF” Selects the source that will modulate the LFO mod-
ON will limit the occurrence of this noise. ulation depth.
If you set “SAMPLE RATE” to about 3 kHz and turn AMOUNT [–100…+100]
“PRE-LPF” OFF, a ring-modulator-like sound will be Specifies the amount by which the LFO modulation
produced. depth will be modulated.
2. HIGH DAMP [20.00Hz…18.66kHz, Thru] 7. LEVEL [0.0…100.0]
Adjusts the amount of the high-frequency range that Adjusts the output level.
will be cut. When you double-click the “LEVEL” knob, the follow-
ing dynamic modulation parameters will appear.
3. SAMPLE RATE [1.000kHz…48.000kHz] (☞p.22)
Specifies the sampling frequency
SOURCE [OFF, Gate1…CC17]
When you double-click the “FS” knob, the following
Selects the source that will modulate the output
dynamic modulation parameters will appear. (☞p.22)
level.
SOURCE [OFF, Gate1…CC17]
AMOUNT [–100…+100]
Selects the source that will modulate the sampling
Specifies the amount by which the output level will
frequency.
be modulated.
AMOUNT [–100…+100]
Specifies the amount by which the sampling fre-
quency will be modulated.

4. RESOLUTION [4bit…24bit]
Specifies the bit-depth. Lower settings will produce a
rougher and more distorted sound. Since this setting
will affect the volume, you’ll need to use “LEVEL” to
re-adjust the volume.

5. LFO-DEPTH [0.0…100.0]
Adjusts the depth to which the LFO will modulate the
sampling frequency.
When you double-click the “FREQ” knob, the follow-
ing dynamic modulation parameters will appear.
(☞p.22)
SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the LFO speed.
AMOUNT [–100…+100]
Specifies the amount by which the LFO speed will
be modulated.

32
 Effect parameters

10: Flanger
This effect adds an intense sensation of modulation and pitch movement. It is effective when applied to sounds that
contain a rich overtone structure. This is a stereo effect, and you can skew the LFO between left and right to control
the spaciousness of the effect.

1 5 6 7 9

2 4 3 8 10

1. WAVE [TRIANGLE, SINE]

Selects the LFO waveform.

2. SHAPE [–100.0…0.0…+100.0]
Specifies the degree to which the LFO waveform will
be deformed.

3. FREQ (Frequency)/TIMES
[0.020Hz…20.000Hz/1…16]
Adjusts the LFO speed. (☞p.23)
When you double-click the “FREQ” knob, the follow-
ing dynamic modulation parameters will appear.
(☞p.22)
SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the LFO speed.
AMOUNT [–100…+100]
Specifies the amount by which the LFO speed will
be modulated.

4. TEMPO SYNC [ON, OFF]

If this is OFF, the LFO speed will be the frequency
specified by “FREQ”. If this is ON, the LFO speed will
be the cycle length specified by the “BASE NOTE” and
“FREQ” parameters, relative to the tempo specified
by the host application.

5. BASE NOTE [1/16…1/1]

Selects the note value in terms of which the LFO speed
will be specified. (☞p.23)

6. L-R PHASE [–180.0…0.0…+180.0]

Specifies the phase difference between the left and
right LFO.

7. DELAY [0.000ms…50.00ms]
Specifies the delay time from the original sound.

8. DEPTH [0.0…100.0]
Adjusts the LFO modulation depth.

9. FEEDBACK [–100.0…0.0…+100.0]
Adjusts the amount of feedback.

10. HIGH DAMP [20.00Hz…18.66kHz, THRU]

Adjusts the amount of high-frequency attenuation for
the feedback.

33
 Parameters

11: Phaser
This is a stereo phaser effect that shifts the phase of the sound to create a sense of modulation. It is particularly effec-
tive when applied to electric piano sounds. You can skew the LFO between left and right to control the spaciousness
of the effect.

1 5 6 7 9

2 4 3 8 10

1. WAVE [TRIANGLE, SINE] 8. DEPTH [0.0…100.0]

Selects the LFO waveform. Adjusts the LFO modulation depth.
When you double-click the “DEPTH” knob, the follow-
2. SHAPE [–100.0…0.0…100.0] ing dynamic modulation parameters will appear.
Specifies the degree to which the LFO waveform will (☞p.22)
be deformed. SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the LFO mod-
3. FREQ (Frequency)/TIMES ulation depth.
[0.020Hz…20.000Hz/1…16] AMOUNT [–100…+100]
Adjusts the LFO speed. (☞p.25) Specifies the amount by which the LFO modulation
When you double-click the “FREQ” knob, the follow- depth will be modulated.
ing dynamic modulation parameters will appear.
(☞p.22) 9. RESONANCE [–100.0…0.0…+100.0]
SOURCE [OFF, Gate1…CC17] Adjusts the amount of resonance. Positive (+) and neg-
Selects the source that will modulate the LFO speed. ative (–) settings will cause the peak to occur in differ-
AMOUNT [–100…+100] ent ways. If you want the overtones to be emphasized
Specifies the amount by which the LFO speed will when the direct sound and effect sound are mixed, set
be modulated. “RESONANCE” and “WET/DRY” both to positive (+)
values or both to negative (–) values.
4. TEMPO SYNC [ON, OFF]
If this is OFF, the LFO speed will be the frequency 10. HIGH DAMP [0.00Hz…18.66kHz, THRU]
specified by “FREQ”. If this is ON, the LFO speed will Adjusts the cutoff frequency for the high-frequency
be the cycle length specified by the “BASE NOTE” and attenuation applied to the resonance.
“FREQ” parameters, relative to the tempo specified
by the host application.

5. BASE NOTE [1/16…1/1]

Selects the note value in terms of which the LFO speed
will be specified. (☞p.23)

6. L-R PHASE [–180.0…0.0…+180.0]

Specifies the phase difference between the left and
right LFO.

7. MANUAL [0.0…100.0]
Specifies the frequency at which the effect will be
applied.

34
 Effect parameters

12: Polysix Ensemble

This simulates the ensemble effect built into the Polysix vintage synthesizer, and produces a rich chorus sound. You
can skew the LFO between left and right to control the spaciousness of the effect.

1 2 3

1. HIGH DAMP [20.00Hz…18.66kHz, THRU]

Adjusts the attenuation of the high-frequency region.

2. SPREAD [0.00…10.00]
Adjusts the panning of the effect sound.

3. INTENSITY [0.00…10.00]
Adjusts the depth of the effect.
When you double-click the “INTENSITY” knob, the
following dynamic modulation parameters will
appear. (☞p.22)
SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the effect
depth.
AMOUNT [–100…+100]
Specifies the amount by which the effect depth will
be modulated.

35
 Parameters

13: MultiTap Chorus/Delay

This is a tap delay with four choruses of differing LFO phase. By specifying the delay time, modulation depth, out-
put level, and panning independently for each chorus, you can create a complex sense of stereo. You can also fix sev-
eral of the choruses, and use this as an effect that combines chorus and delay.

2 4 6 7

3 5 1 8

1. TAP Select [TAP1, TAP2, TAP3, TAP4] 7. LFO FREQ [0.020Hz…13.000Hz]

Selects the tap delay that you want to adjust. You can Specifies the LFO speed.
set the “DEPTH,” “DELAY,” “PAN,” and “LEVEL”
parameters for the selected tap delay. 8. FEEDBACK [–100.0…0.0…+100.0]
TAP1: LFO phase = 0 degrees Adjusts the amount of feedback for the TAP1 delay.
TAP2: LFO phase = 180 degrees When you double-click the “FEEDBACK” knob, the
TAP3: LFO phase = 90 degrees following dynamic modulation parameters will
TAP4: LFO phase = 270 degrees appear. (☞p.22)
SOURCE [OFF, Gate1…CC17]
2. DEPTH [0.00…30.00] Selects the source that will modulate the feedback
Adjusts the modulation depth of the chorus. amount.
AMOUNT [–100…+100]
3. DELAY [1.00ms…570.00ms] Specifies the amount by which the feedback amount
Adjusts the delay time. will be modulated.
4. PAN [L6.00…L0.10, CENTER, R0.10…R6.00]
Adjusts the stereo position.

5. LEVEL [0.00…30.00]
Adjusts the output level.

6. DELAY/PAN display
This area shows the “DELAY” and “PAN” settings for
each tap delay in a semi-circular field.

Field

Original sound

The tap delay settings selected by “TAP select” are

indicated by the symbol, and the others are indi-
cated by the symbols.
As the “DELAY” setting is increased, the and sym-
bols will move farther from the original sound (shown
in the field as a semicircle). The symbols will be located
between left and right according to the “PAN” setting.
You can also drag the or symbols to set the
“DELAY” and “PAN” of the corresponding tap delay.

36
 Effect parameters

14: Stereo/Cross Delay

This is a stereo delay. You can also change the feedback connection and use it as a cross-feedback delay in which the
delay sound alternates between left and right.

1 5 7 10 11

2 3 4 6 8 9

1. TYPE [STEREO, CROSS] 8. INPUT TRIM [0.0…100.0]

Selects either stereo delay or cross-feedback delay. Adjusts the input level.
When you double-click the “INPUT TRIM” knob, the
2. TEMPO SYNC [ON, OFF] following dynamic modulation parameters will
If this is OFF, the delay time will be specified by appear. (☞p.22)
“DELAY-L” or “DELAY-R.” If this is ON, the delay SOURCE [OFF, Gate1…CC17]
time will be specified by the “BASE NOTE” and Selects the source that will modulate the input level.
“DELAY-L” or “DELAY-R” parameters, relative to the AMOUNT [–100…+100]
tempo specified by the host application. Specifies the amount by which the input level will
be modulated.
3. BASE NOTE [1/16…1/1]
Selects the note value in terms of which the delay time 9. SPREAD [–50.0…0.0…+50.0]
will be specified. (☞p.23) Adjusts the width to which the effect sound will be
panned.
4. DELAY-L [0.0ms…680.0ms]
Specifies the delay time for the left channel. 10. LOW DAMP [1.00Hz…5.30kHz]
Specifies the cutoff frequency for the low-frequency
5. FEEDBACK-L [–100.0…0.0…+ 100.0] attenuation.
Adjusts the amount of feedback for the left channel.
When you double-click the “FEEDBACK-L” knob, the 11. HIGH DAMP [20.00Hz…18.66kHz, THRU]
following dynamic modulation parameters will Specifies the cutoff frequency for the high-frequency
appear. (☞p.22) attenuation.
SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the feedback
amount.
AMOUNT [–100…+100]
Specifies the amount by which the feedback will be
modulated.

6. DELAY-R [0.0ms…680.0ms]
Specifies the delay time for the right channel.

7. FEEDBACK-R [–100.0…0.0…+100.0]
Adjusts the amount of feedback for the right channel.
When you double-click the “FEEDBACK-R” knob, the
following dynamic modulation parameters will
appear. (☞p.22)
SOURCE [OFF, Gate1…CC17]
Selects the source that will modulate the feedback
amount.
AMOUNT [–100…+100]
Specifies the amount by which the feedback amount
will be modulated.

37
 Parameters

15: LCR BPM Delay

This is an LCR delay in which the delay time can be synchronized to the song tempo. You can synchronize to MIDI
clock, or input the tempo beforehand to synchronize to a realtime performance. The delay time can be specified in
terms of a note value.

5 7

1 2 3 4 6 8

1. INPUT TRIM [0.0…100.0] 5. FEEDBACK [–100.0…0.0…+100.0]

Adjusts the amount of modulation for the input level. Adjusts the amount of feedback for the center channel
When you double-click the “INPUT TRIM” knob, the tap delay.
following dynamic modulation parameters will When you double-click the “FEEDBACK” knob, the
appear. (☞p.22) following dynamic modulation parameters will
SOURCE [OFF, Gate1…CC17] appear. (☞p.22)
Selects the source that will modulate the input level. SOURCE [OFF, Gate1…CC17]
AMOUNT [–100…+100] Selects the source that will modulate the feedback
Specifies the amount by which the input level will amount.
be modulated. AMOUNT [–100…+100]
Specifies the amount by which the feedback amount
2. LEFT will be modulated.
Specifies the delay for the left channel tap delay.
BASE [1/16…1/1] 6. SPREAD [0.00…50.00]
Selects the note value in terms of which the delay Adjusts the width to which the effect sound will be
time will be specified. (☞p.23) panned.
TIMES [1…16]
Specifies the delay time as a multiple of the above 7. HIGH DAMP [20.00Hz…18.66kHz, THRU]
note value. (☞p.23) Specifies the cutoff frequency for the high-frequency
attenuation.
LEVEL [0.00…50.00]
Specifies the effect level for the left channel.
8. LOW DAMP [1.00Hz…5.30kHz]
3. CENTER Specifies the cutoff frequency for the low-frequency
Specifies the delay for the center channel tap delay. attenuation.
BASE [1/16…1/1]
Selects the note value in terms of which the delay
time will be specified. (☞p.23)
TIMES [1…16]
Specifies the delay time as a multiple of the above
note value. (☞p.23)
LEVEL [0.00…50.00]
Specifies the effect level for the left channel.

4. RIGHT
Specifies the delay for the right channel tap delay.
BASE [1/16…1/1]
Selects the note value in terms of which the delay
time will be specified. (☞p.23)
TIMES [1…16]
Specifies the delay time as a multiple of the above
note value. (☞p.23)
LEVEL [0.00…50.00]
Specifies the effect level for the right channel.

38
 Effect parameters

16: Reverb-Hall
This is a hall-type reverb that simulates the reverberation of a mid-sized concert hall or ensemble hall.

1 4 6

2 3 5 7

1. PRE DELAY THRU [0.0%…100.0%]

Adjusts the proportion of undelayed sound that will be
mixed. This lets you emphasize the attack.

2. PRE DELAY [0.0ms…200.0ms]

Specifies the delay time that follows the direct sound.
This controls the spaciousness of the hall.

3. PRE EQ TRIM [–24.00dB…0.00dB]

Adjusts the input level to the equalizer.

4. EQ HIGH GAIN [–15.00dB…0.00dB…+15.00dB]

Adjusts the gain of the high-frequency equalizer.

5. EQ LOW GAIN [–15.0dB…0.00dB…+15.0dB]

Adjusts the gain of the low-frequency equalizer.

6. HIGH DUMP [20.00Hz…18.66kHz, THRU]

Specifies the cutoff frequency for the high-frequency
attenuation.

7. REVERB TIME [0.100s…10.000s]

Specifies the reverb time.

39
 Parameters

17: Reverb-Smooth Hall

This is a hall-type reverb that simulates the reverberation of a large hall or stadium, and features a smooth release.
The effect parameters are the same as those offered in the Reverb Hall effect.

18: Reverb-Wet Plate

This is a plate reverb that produces a warm and dense reverberation effect. The effect parameters are the same as
those offered in the Reverb Hall effect.

19: Reverb-Dry Plate

This is a plate reverb that produces a dry-sounding (light) reverberation effect. The effect parameters are the same as
those offered in the Reverb Hall effect.

40

Utility
Utility commands let you copy/paste program set-
tings, oscillators, EGs and effects, plus initialize pro-
grams, and hide/show program data.
Click the UTILITY [▼] button to access the menu, and
then select the command you want to execute.
Copy/Paste
Bank
Copies/pastes the currently selected bank of pro-
grams.
Program
Copies/pastes the settings of the currently selected
program.
VCO 1–4
Copies/pastes VCO settings.
VCF EG/VCA EG
Copies/pastes VCF EG or VCA EG settings.
MG 1/2
Copies/pastes MG1 or MG2 settings.
Effect 1/2
Copies/pastes effect 1 or effect 2 settings.
Chord Memory
Copies/pastes the chord assigned in the chord mem-
ory of the currently selected program.
Note: If you’re running multiple instances of the
Mono/Poly software synthesizer, copying and pasting
the program parameters from one into another will
overwrite the settings of the destination program.
Swap
EG
Exchanges the VCF EG and VCA EG settings.
MG
Exchanges the MG1 and MG2 settings.
Effect
Exchanges the effect 1 and effect 2 settings.
Utility
Initialize
Initializes the currently selected program. Choose the
desired initialization template from the sub-menu.
Default: The most basic program, used to create a
sound from scratch.
1VCO: The most basic program using a single saw-
tooth wave oscillator.
Unison Saw: A typical unison program. It uses four
sawtooth wave oscillators, with the pitch of each oscil-
lator slightly shifted, and two notes layered.
Noise: A basic program using the noise generator.
Suitable for wind sounds or sounds such as snare
drum.
Sync LFO: A basic program using oscillator sync.
(☞p.13)
X-Mod EG: A basic program using cross modulation
(☞p.13).
VCF Sine: A basic program using a self-oscillating fil-
ter.
PWM Mono Lead: A typical synth lead program that
uses one pulse-wave oscillator.
Mono Bass: A typical synth bass program that uses
one sawtooth wave oscillator.
Reso Sweep: A program suitable for pad sounds. The
filter resonance is set fairly high, and the cutoff fre-
quency is swept.
Strings: A typical synth strings program that uses two
sawtooth wave and two pulse wave oscillators.
Bell: A typical bell program that uses four sawtooth
wave oscillators.
E.Piano: An electric piano program that uses oscillator
sync. (☞p.13)
Organ: An organ program that uses four oscillators,
each set to an appropriate pitch.
Brass: A typical synth brass program that uses three
oscillators.
Zap: A basic program suitable for synth drum or per-
cussion. The filter is made to self-oscillate.
Snare: A snare drum program that combines a noise
waveform with a cross-modulated (☞p.13) triangle
waveform.
Chord: A program using the Chord Memory function
(☞p.16) to produce a chord when you play a single
note.
Mono/Poly Seq: A program using the distinctive Orig-
inal Poly Mode (☞p.16) of the Mono/Poly together
with the arpeggiator.
Air Noise: A program that combines filter self-oscilla-
tion with the noise generator.
Pitch EG: A program that uses an EG to modulate the
pitch of a pulse wave, together with the arpeggiator.
41
 Parameters

Show/Hide Controller Assign

Shows or hides the CC# number assigned to each of
the Mono/Poly’s knobs and switches.

Show/Hide Program Info

Shows or hides the “AUTHOR” and “COMMENT” for
the currently selected program (shown in the display).

Show/Hide Audition Riff

Shows or hides the audition riff (“AUDI.RIFF”) and
transpose (“TRANSPOSE”) for the currently selected
program. This is shown in the display.

All Sound Off

Transmits a MIDI All Sound Off message. You can exe-
cute this command if the software becomes unstable or
if you experience “stuck” notes.

About Mono/Poly
Displays the current O.S. version of the Mono/Poly
software synthesizer.

42
 Writing, saving, and loading Program data

Writing to internal memory

Edited programs, global settings and other such information can be stored in the Mono/Poly software synthesizer’s
internal memory.
Internal memory holds banks A–D each containing 128 programs for a total of 512 programs, global parameters, and
the CC# assignment settings for each knob and switch.

The programs you write will be lost if you exit the application without saving. If you want to keep the pro-
grams you’ve written, click the [FILE] button and save them on your computer. (☞“Saving data on your com-
puter” on page 44)
1. Click the [WRITE] button.
The WRITE PROGRAM screen will appear. This shows the bank, program category, program name, and program
information.

2. Click to select the writing-destination the bank and program number

Before you save, you can specify program information such as the category, program name, program author, and
comment.
3. Click the [OK] button.
The program will be written to the bank you specified as the destination. All program parameters shown in the
edit area will be written.

43
 Saving data on your computer

Saving data on your computer

The Mono/Poly’s internal data can also be saved as a file on your computer.

The programs you edit will be lost when you exit the application. If you want to keep the programs you’ve
edited, you must save them to your computer.
To save data to your computer, use the [FILE] button or the File menu.

[FILE] button
1. Click the [FILE] button.
The [LOAD][SAVE] buttons will appear in the display.

2. Click the [SAVE] button, and from the popup menu that appears, select the data that you want to save.
All Data…: All programs (banks A–D, each for 128 for a total of 512 programs) stored in the internal memory of
the Mono/Poly, as well as global parameter settings and the CC# assignments for each knob and switch will be
saved to your computer. The file extension will be “.mp4all” or “.fxb” (Mono/Poly All Data).
Bank…: The 128 programs in the bank currently selected in the Mono/Poly will be saved to your computer. The
file extension will be “.mp4bank” (Mono/Poly Bank Data).
Program…: The currently selected program will be saved to your computer. The file extension will be
“.mp4prog” or “.fxp” (Mono/Poly 1 Program).
Global…: The current global parameter settings will be saved to your computer. The file extension will be
“.mp4global” (Mono/Poly Global Data).
Controller Map…: The CC# assignments for each of the Mono/Poly’s knobs and switches will be saved to your
computer. The file extension will be “.cmap” (Mono/Poly Controller Map).
Make Current All Data Default: All programs (banks A–D, each containing 128 for a total of 512) stored in
Mono/Poly’s internal memory, the Global parameter settings, and the CC# assignments for each knob and switch
will be saved on your computer as the default settings used when Mono/Poly starts up.
Make Current Controller Map Default: The current CC# assignments for each knob and switch will be saved on
your computer as the default settings used when Mono/Poly starts up.
3. In the dialog box that appears, select the save-destination and the type of file you want to save.

4. Specify a file name, and click the [Save] button.

The file will be saved.

File menu
Save bank
1. From the file menu located in the upper left of the screen, choose “Save Bank As…”.
2. In the dialog box that appears, choose the save-destination, specify a file name, and click the [Save] button.
All programs stored in the internal memory of the Mono/Poly (banks A–D each containing 128 programs, a total
of 512 programs) will be saved to your computer.
The file will have an extension of “.fxb”.

Save Program
1. From the file menu located in the upper left of the screen, choose “Save Program…”.
2. In the dialog box that appears, choose the save-destination, specify a file name, and click the [Save] button.
The currently loaded program data will be saved. The file will have an extension of “.fxp”.

44
 Loading data from your computer

Loading data from your computer

Here’s how to load previously-saved data from your computer into the Mono/Poly’s internal memory.

[FILE] button
1. Click the [FILE] button
The [LOAD] [SAVE] buttons will appear in the display.

2. Click the [LOAD] button, and from the popup menu that appears, select the data that you want to load.
All Data…: An “.mp4all” or “.fxb” file saved on your computer will be loaded into the Mono/Poly’s internal
memory. All programs (banks A–D, each for 128 for a total of 512 programs), the global parameter settings, and
the CC# assignments for each knob and switch will be loaded.
Bank…: An “.mp4bank” file saved on your computer will be loaded into the Mono/Poly’s internal memory. One
bank of 128 programs will be loaded.
Program…: An “.mp4prog” or “.fxp” file saved on your computer will be loaded into the Mono/Poly’s internal
memory. One program will be loaded.
Global…: An “.mp4global” file saved on your computer will be loaded into the Mono/Poly’s internal memory.
The global parameters will be loaded.
Controller Map…: An “.mp4cmap” file saved on your computer will be loaded into the Mono/Poly’s internal
memory. The CC# assignments for each of the Mono/Poly’s knobs and switches will be loaded.
3. In the dialog box that appears, select the location of the file, the type of file, and the name of the desired file, and
click the [Open] button.
The file will be loaded.

File menu
Load bank (.fxb files)
1. From the file menu located in the upper left of the screen, choose “Load Bank...”.
2. In the dialog box that appears, specify the file location, the file name, and click the [Open] button.
The “.fxb” file will be loaded into the Mono/Poly’s internal memory.

Load program (.fxp files)

1. From the file menu located in the upper left of the screen, choose “Load Program...”.
2. In the dialog box that appears, specify the file location, the file name, and click the [Open] button.
The “.fxp” file will be loaded into the Mono/Poly’s internal memory.

45
 Appendices

Computer menus
The menus appearing on your computer contain the following commands. The following menus are available only
when the Mono/Poly software synthesizer is running in stand-alone mode, and not when you’re using it as a plug-in.

File menu
Load Bank...
Loads an “.fxb” file. This is the same operation as when you click the [FILE] button and choose “Load” -> “All Data”
from the menu that appears.
Shortcut key: [Ctrl] key (Mac: [Command] key) + [O]

Save Bank As...

Saves all programs (128 in each bank A–H, for a total of 1,024), global parameter settings, and the MIDI CC# assign-
ments for each knob and switch.
Shortcut key: [Ctrl] key (Mac: [Command] key) + [S]

Load Program...
Loads an “.fxp” file.
Shortcut key: [Ctrl] key (Mac: [Command] key) + [I]

Save Program...
The currently selected program parameters will be saved in a file with an extension of “.fxp”.
Shortcut key: [Ctrl] key (Mac: [Command] key) + [E]

Quit
Exits the software.
Shortcut key: [Ctrl] key (Mac: [Command] key) + [Q]

System menu
Play audio / Stop audio
This switches between allowing and stopping audio playback. This command toggles between the two settings.

Preference...
Opens the Preference dialog box.

Background playback...
This switches background playback on your computer on/off.

46

Modulation Source List
Modulation source
Velocity (+)
Velocity (+ –)
Keyboard Track (+)
Keyboard Track (+ –)
After Touch (+)
After Touch (+ –)
Pitch Bend
Mod.Wheel (+)
Mod.Wheel (+ –)
MIDI1
MIDI2
MIDI3
MIDI4
VCF EG (+)
VCF EG (+) * Velocity (+)
VCF EG (+) * Velocity (+ –)
VCF EG (+) * Keyboard Track (+)
VCF EG (+) * Keyboard Track (+ –)
VCF EG (+) * After Touch (+)
VCF EG (+) * After Touch (+ –)
VCF EG (+) * Pitch Bend
VCF EG (+) * Mod.Wheel (+)
VCF EG (+) * Mod.Wheel (+ –)
VCF EG (+) * MIDI1
VCF EG (+) * MIDI2
VCF EG (+) * MIDI3
VCF EG (+) * MIDI4
VCF EG (+ –)
VCF EG (+ –) * Velocity (+)
VCF EG (+ –) * Velocity (+ –)
VCF EG (+ –) * Keyboard Track (+)
VCF EG (+ –) * Keyboard Track (+ –)
VCF EG (+ –) * After Touch (+)
VCF EG (+ –) * After Touch (+ –)
VCF EG (+ –) * Pitch Bend
VCF EG (+ –) * Mod.Wheel (+)
VCF EG (+ –) * Mod.Wheel (+ –)
VCF EG (+ –) * MIDI1
VCF EG (+ –) * MIDI2
VCF EG (+ –) * MIDI3
VCF EG (+ –) * MIDI4
VCA EG (+)
VCA EG (+) * Velocity (+)
VCA EG (+) * Velocity (+ –)
VCA EG (+) * Keyboard Track (+)
VCA EG (+) * Keyboard Track (+ –)
VCA EG (+) * After Touch (+)
VCA EG (+) * After Touch (+ –)
Modulation Source List
Explanation
Use velocity to apply modulation in the “+” direction as a value of 0–127.
Use velocity to apply modulation in the “+/–” direction around a velocity value of 64.
Uses keyboard tracking to apply modulation in the “+” direction as a value corresponding to
note numbers 0 (C-1)–127 (C8).
Uses keyboard tracking to apply modulation in the “+/–” direction around note number E4.
Uses aftertouch to apply modulation in the “+” direction as a value of 0–127.
Uses aftertouch to apply modulation in the “+/–” direction around an aftertouch value of 64.
Uses pitch bend to apply modulation in the “+/–” direction around the center of the range of
movement.
Uses the modulation wheel to apply modulation in the “+” direction as a value of 0–127.
Uses the modulation wheel to apply modulation in the “+/–” direction around the center of the
range of movement.
Uses the Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 1” to apply
modulation.
Uses the Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 2” to apply
modulation.
Uses the Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 3” to apply
modulation.
Uses the Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 4” to apply
modulation.
Uses the VCF EG to apply modulation only in the “+” direction. (☞“BIPOLAR (PWM SRC
Bipolar)” on page 12)
VCF EG + direction and velocity+ direction
VCF EG + direction and velocity +/– direction
VCF EG + direction and keyboard track + direction
VCF EG + direction and keyboard track +/– direction
VCF EG + direction and after touch + direction
VCF EG + direction and after touch +/– direction
VCF EG + direction and pitch bend
VCF EG + direction and modulation wheel + direction
VCF EG + direction and modulation wheel +/– direction
VCF EG + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 1”
VCF EG + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 2”
VCF EG + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 3”
VCF EG + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 4”
Uses the VCF EG to apply modulation in the “+/–” direction. (☞“BIPOLAR (PWM SRC
Bipolar)” on page 12)
VCF EG +/– direction and velocity + direction
VCF EG +/– direction and velocity +/– direction
VCF EG +/– direction and keyboard track + direction
VCF EG +/– direction and keyboard track +/– direction
VCF EG +/– direction and after touch + direction
VCF EG +/– direction and after touch +/– direction
VCF EG +/– direction and pitch bend
VCF EG +/– direction and modulation wheel + direction
VCF EG +/– direction and modulation wheel +/– direction
VCF EG +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 1”
VCF EG +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 2”
VCF EG +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 3”
VCF EG +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 4”
VCA EG + direction
VCA EG + direction and velocity + direction
VCA EG + direction and velocity +/– direction
VCA EG + direction and keyboard track + direction
VCA EG + direction and keyboard track +/– direction
VCA EG + direction and after touch + direction
VCA EG + direction and after touch +/– direction
47
 Modulation Source List
Modulation source
VCA EG (+) * Pitch Bend
VCA EG (+) * Mod.Wheel (+)
VCA EG (+) * Mod.Wheel (+ –)
VCA EG (+) * MIDI1
VCA EG (+) * MIDI2
VCA EG (+) * MIDI3
VCA EG (+) * MIDI4
VCA EG (+ –)
VCA EG (+ –) * Velocity (+)
VCA EG (+ –) * Velocity (+ –)
VCA EG (+ –) * Keyboard Track (+)
VCA EG (+ –) * Keyboard Track (+ –)
VCA EG (+ –) * After Touch (+)
VCA EG (+ –) * After Touch (+ –)
VCA EG (+ –) * Pitch Bend
VCA EG (+ –) * Mod.Wheel (+)
VCA EG (+ –) * Mod.Wheel (+ –)
VCA EG (+ –) * MIDI1
VCA EG (+ –) * MIDI2
VCA EG (+ –) * MIDI3
VCA EG (+ –) * MIDI4
MG1 (+)
MG1 (+) * Velocity (+)
MG1 (+) * Velocity (+ –)
MG1 (+) * Keyboard Track (+)
MG1 (+) * Keyboard Track (+ –)
MG1 (+) * After Touch (+)
MG1 (+) * After Touch (+ –)
MG1 (+) * Pitch Bend
MG1 (+) * Mod.Wheel (+)
MG1 (+) * Mod.Wheel (+ –)
MG1 (+) * MIDI1
MG1 (+) * MIDI2
MG1 (+) * MIDI3
MG1 (+) * MIDI4
MG1 (+) * VCF EG (+)
MG1 (+) * VCF EG (+ –)
MG1 (+) * VCA EG (+)
MG1 (+) * VCA EG (+ –)
MG1 (+ –)
MG1 (+ –) * Velocity (+)
MG1 (+ –) * Velocity (+ –)
MG1 (+ –) * Keyboard Track (+)
MG1 (+ –) * Keyboard Track (+ –)
MG1 (+ –) * After Touch (+)
MG1 (+ –) * After Touch (+ –)
MG1 (+ –) * Pitch Bend
MG1 (+ –) * Mod.Wheel (+)
MG1 (+ –) * Mod.Wheel (+ –)
MG1 (+ –) * MIDI1
MG1 (+ –) * MIDI2
MG1 (+ –) * MIDI3
MG1 (+ –) * MIDI4
MG1 (+ –) * VCF EG (+)
48
Explanation
VCA EG + direction and pitch bend
VCA EG + direction and modulation wheel + direction
VCA EG + direction and modulation wheel +/– direction
VCA EG + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 1”
VCA EG + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURC E2”
VCA EG + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 3”
VCA EG + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 4”
VCA EG +/– direction
VCA EG +/– direction and velocity + direction
VCA EG +/– direction and velocity +/– direction
VCA EG +/– direction and keyboard track + direction
VCA EG +/– direction and keyboard track +/– direction
VCA EG +/– direction and after touch + direction
VCA EG +/– direction and after touch +/– direction
VCA EG +/– direction and pitch bend
VCA EG +/– direction and modulation wheel + direction
VCA EG +/– direction and modulation wheel +/– direction
VCA EG +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE
“SOURCE 1”
VCA EG +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE
“SOURCE 2”
VCA EG +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE
“SOURCE 3”
VCA EG +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE
“SOURCE 4”
MG1 + direction
MG1 + direction and velocity + direction
MG1 + direction and velocity +/– direction
MG1 + direction and keyboard track + direction
MG1 + direction and keyboard track +/– direction
MG1 + direction and after touch + direction
MG1 + direction and after touch +/– direction
MG1 + direction and pitch bend
MG1 + direction and modulation wheel + direction
MG1 + direction and modulation wheel +/– direction
MG1 + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 1”
MG1 + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 2”
MG1 + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 3”
MG1 + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 4”
MG1 + direction and VCF EG + direction
MG1 + direction and VCF EG +/– direction
MG1 + direction and VCA EG + direction
MG1 + direction and VCA EG +/– direction
MG1 +/– direction
MG1 +/– direction and velocity + direction
MG1 +/– direction and velocity +/– direction
MG1 +/– direction and keyboard track + direction
MG1 +/– direction and keyboard track +/– direction
MG1 +/– direction and after touch + direction
MG1 +/– direction and after touch +/– direction
MG1 +/– direction and pitch bend
MG1 +/– direction and modulation wheel + direction
MG1 +/– direction and modulation wheel +/– direction
MG1 +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 1”
MG1 +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 2”
MG1 +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 3”
MG1 +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 4”
MG1 +/– direction and VCF EG + direction

Modulation source
MG1 (+ –) * VCF EG (+ –)
MG1 (+ –) * VCA EG (+)
MG1 (+ –) * VCA EG (+ –)
MG2 (+)
MG2 (+) * Velocity (+)
MG2 (+) * Velocity (+ –)
MG2 (+) * Keyboard Track (+)
MG2 (+) * Keyboard Track (+ –)
MG2 (+) * After Touch (+)
MG2 (+) * After Touch (+ –)
MG2 (+) * Pitch Bend
MG2 (+) * Mod.Wheel (+)
MG2 (+) * Mod.Wheel (+ –)
MG2 (+) * MIDI1
MG2 (+) * MIDI2
MG2 (+) * MIDI3
MG2 (+) * MIDI4
MG2 (+) * VCF EG (+)
MG2 (+) * VCF EG (+ –)
MG2 (+) * VCA EG (+)
MG2 (+) * VCA EG (+ –)
MG2 (+ –)
MG2 (+ –) * Velocity (+)
MG2 (+ –) * Velocity (+ –)
MG2 (+ –) * Keyboard Track (+)
MG2 (+ –) * Keyboard Track (+ –)
MG2 (+ –) * After Touch (+)
MG2 (+ –) * After Touch (+ –)
MG2 (+ –) * Pitch Bend
MG2 (+ –) * Mod.Wheel (+)
MG2 (+ –) * Mod.Wheel (+ –)
MG2 (+ –) * MIDI1
MG2 (+ –) * MIDI2
MG2 (+ –) * MIDI3
MG2 (+ –) * MIDI4
MG2 (+ –) * VCF EG (+)
MG2 (+ –) * VCF EG (+ –)
MG2 (+ –) * VCA EG (+)
MG2 (+ –) * VCA EG (+ –)
Noise
Noise * Velocity (+)
Noise * Velocity (+ –)
Noise * Keyboard Track (+)
Noise * Keyboard Track (+ –)
Noise * After Touch (+)
Noise * After Touch (+ –)
Noise * Pitch Bend
Noise * Mod.Wheel (+)
Noise * Mod.Wheel (+ –)
Noise * MIDI1
Noise * MIDI2
Noise * MIDI3
Noise * MIDI4
Noise * VCF EG (+)
Noise * VCF EG (+ –)
Noise * VCA EG (+)
Noise * VCA EG (+ –)
Modulation Source List
Explanation
MG1 +/– direction and VCF EG +/– direction
MG1 +/– direction and VCA EG + direction
MG1 +/– direction and VCA EG +/– direction
MG2 + direction
MG2 + direction and velocity + direction
MG2 + direction and velocity +/– direction
MG2 + direction and keyboard track + direction
MG2 + direction and keyboard track +/– direction
MG2 + direction and after touch + direction
MG2 + direction and after touch +/– direction
MG2 + direction and pitch bend
MG2 + direction and modulation wheel + direction
MG2 + direction and modulation wheel +/– direction
MG2 + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 1”
MG2 + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 2”
MG2 + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 3”
MG2 + direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 4”
MG2 + direction and VCF EG + direction
MG2 + direction and VCF EG +/– direction
MG2 + direction and VCA EG + direction
MG2 + direction and VCA EG +/– direction
MG2 +/– direction
MG2 +/– direction and velocity + direction
MG2 +/– direction and velocity +/– direction
MG2 +/– direction and keyboard track + direction
MG2 +/– direction and keyboard track +/– direction
MG2 +/– direction and after touch + direction
MG2 +/– direction and after touch +/– direction
MG2 +/– direction and pitch bend
MG2 +/– direction and modulation wheel + direction
MG2 +/– direction and modulation wheel +/– direction
MG2 +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 1”
MG2 +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 2”
MG2 +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 3”
MG2 +/– direction and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 4”
MG2 +/– direction and VCF EG + direction
MG2 +/– direction and VCF EG +/– direction
MG2 +/– direction and VCA EG + direction
MG2 +/– direction and VCA EG +/– direction
Uses the amplitude of noise to apply modulation in the “+/–” direction.
Noise and velocity + direction
Noise and velocity +/– direction
Noise and keyboard track + direction
Noise and keyboard track +/– direction
Noise and after touch + direction
Noise and after touch +/– direction
Noise and pitch bend
Noise and modulation wheel + direction
Noise and modulation wheel +/– direction
Noise and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 1”
Noise and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 2”
Noise and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 3”
Noise and Global parameter VIRTUAL PATCH CONTROL CHANGE “SOURCE 4”
Noise and VCF EG + direction
Noise and VCF EG +/– direction
Noise and VCA EG + direction
Noise and VCA EG +/– direction
49
 Troubleshooting

Troubleshooting
Please check the following points if you experience problems.

No sound
• Have you made the appropriate settings in System menu [Setup] → [Audio Settings] and [MIDI Settings]?
• Is the Master Level or any other volume-related parameters set to 0?
• Is your computer set to produce sound?
• If you’re using Windows XP, open the Control Panel and check [Sound and Audio Device Properties].
• If you’re using Mac OS X, check [System Settings] → [Sound] and Application folder → Utility folder → [Audio
MIDI Settings] → [Audio Devices].
• If you’re using your computer’s sound card, is the sound card set up correctly?
• If you’ve connected an audio device to your computer, is the audio device set up so that sound is being output
from it?

The sound has clicks, pops, or noise

You may experience clicks, pops, or noise if your computer’s CPU is experiencing a heavy load. If you are having
this type of problem, try the following.
• If other applications are running, close them.
• Reduce the maximum polyphony of the synthesizer you’re using.
• In the System Menu [Settings] → [Audio settings], increase the audio buffer size. However, increasing this too
much will also increase the latency (the delay before you hear the sound).

Sound is delayed
• Latency is determined by “the number of samples” x “the number of buffers.” In the System Menu [Settings] →
[Audio Settings], set the “number of buffers” and the “number of samples” to the lowest setting that still allows
stable operation.

Can’t control the software synthesizer from a MIDI device connected

to the computer
• Are your computer and MIDI device connected correctly?
• Is the connected MIDI device detected by your computer?
If you’re using Windows XP, open the Control Panel and check [Sound and Audio Device Properties] → [Hard-
ware].
If you’re using Mac OS X, open the Application folder → Utility folder → [Audio MIDI Settings] → [MIDI
Device], and make sure that your MIDI device is detected.
• Are the correct settings made in System menu [Settings] → [MIDI Settings]?

Can’t operate the software synthesizer’s knobs etc. with the mouse
• Are you operating the mouse in the way that’s selected in the System menu [Settings] → [Other] “Knob operation
method” setting?

If you’re using the Mono/Poly software synthesizer as a plug-in instrument in your host application, you’ll
need to use the “System Settings” (or equivalent) dialog box of your host application to make the appropriate
“Audio Settings” and “Knob Operation Method.” For details on how to make these settings, refer to the
owner’s manual for your host application.

50
 Specifications

MonoPoly software synthesizer

• Maximum Polyphony: 128 notes (depending on the CPU of host computer)
• Number of Part: 1
• Unison: user-specifiable number of voices (1-16), Detune, Spread
• Eight Virtual Patches: 159 modulation sources (Velocity/KBD Track/After Touch/Pitch Bend/Mod.Wheel/CC#/
VCF EG/VCA EG/EG/MG1/MG2/Noise, etc.), 35 destinations (VCO Pitch/VCO Level/Noise Level/VCO
PW/VCO PWM Intensity/Portamento Time/Detune/Cutoff/Resonance/EG Intensity/VCA Gain/VCF EG/
VCA EG/MG1 Speed/NG2 Speed/VCO Mod X-Mod/VCO Mod Freq Mod/Panpot, etc.)
• Two built-in multi-effect processors
• 256 Programs
• Program Browser and audition function
• Micro Tuning
• Operates as stand-alone or VST/AU/RTAS plug-in instrument

Operating requirements
[Windows]
• Computer
CPU: Intel Pentium 4/1.5 GHz, Pentium M/1.3 GHz, Celeron/1.8 GHz AMD AthlonXP/2000+ or faster
Memory: 256 MB or larger
Display: 1,024 x 768 - 16-bit colors or higher
• Operating System
Windows XP Home Edition/Professional SP2 or later
• Audio Interface (*1)
Stand-alone: ASIO, DirectSound or MME compatible audio interface
Plug-in: Depends on system requirements of host application program (*2)

[Macintosh]
• Computer
CPU: Apple G4/800 MHz or faster, G4/1.25 GHz or faster recommended (Some preset combination programs in
Legacy Cell structure require G4/1.25GHz or faster), Intel-based Mac (Universal Binary)
Memory: 256 MB or larger
Display: 1,024 x 768 - 32,000 colors or higher
• Operating System:
Mac OS X 10.3.9 or later
• Audio Interface (*1)
Stand-alone: Core Audio compatible audio interface (Macintosh's on-board sound output port can be used)
Plug-in: Depends on system requirements of host application program (*2)
*1: Audio interface with a low latency will be needed to play software synthesizers in real time.
*2: Audio Units, VST or RTAS compatible (for Macintosh), or VST or RTAS compatible (for Windows) host applica-
tion program will be needed to use as plug-in.

* Appearance and specifications of this product are subject to change without notice. (As of November 2006)

51
 IMPORTANT NOTICE TO CONSUMERS
This product has been manufactured according to strict specifications and voltage requirements that
are applicable in the country in which it is intended that this product should be used. If you have
purchased this product via the internet, through mail order, and/or via a telephone sale, you must
verify that this product is intended to be used in the country in which you reside.
WARNING: Use of this product in any country other than that for which it is intended
could be dangerous and could invalidate the manufacturer’s or distributor’s warranty.
Please also retain your receipt as proof of purchase otherwise your product may be
disqualified from the manufacturer’s or distributor’s warranty.

4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan

 2006 KORG INC.

[KORG Legacy Collection] Date : 2006. 10. 25

Mono/Poly MIDI Implementation Chart

Function Transmitted Recognized Remarks

Basic Default 1
Channel Changed All

Mode Default 1
Messages
Altered

Note 0 – 127
Number: True Voice 0 – 127

Velocity Note On 9n, V=1 – 127

Note Off

Aftertouch Polyphonic (Key)

Monophonic (Channel) *A, *1

Pitch Bend
1 Modulation wheel *C

6 Data Entry *C

0–95 Assignable controller *C, *1, *2

Control
Change 96, 97 RPN/NRPN (Inc/Dec)

98, 99 NRPN (LSB, MSB)

100, 101 RPN (LSB, MSB) *C

120 All Sound Off *C

121 Reset All Controllers

Program 0 – 127 *P
Change Variable Range

System Exclusive

Song Position
System
Common Song Select
Tune

System Clock
Real Time Command

Local On/Off
Aux All Notes Off
Messages Active Sense
Reset
Notes
*A: Received if MIDI FILTER “AFTER TOUCH” is set to ENABLE.
*C: Received if MIDI FILTER “CTRL CHG” is set to ENABLE.
*P: Received if MIDI FILTER “PRG CHG” is set to ENABLE.
*1: Received if assigned as a Dynamic Modulation Source.
*2: Received if assigned to a parameter.
*3: MSB is received as 0, and LSB specifies the bank (0–3).

Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO : Yes

Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO : No
Consult your local Korg distributor for more information on MIDI IMPLEMENTATION.